Nuclear Holocausts Bibliography
A B C D E F G H I J K L M N O P
R S T U V W Y Z
The following bibliography is intended as a list of and
commentary on novels, short stories, and plays written since 1895
which specifically depict nuclear war and its aftermath. Although undoubtedly
lacking some items which eluded the author's search, especially short stories,
it aims at comprehensiveness. The principles followed in the selection of works
have been explained in the preface: only works either originally written in
English or translated into English have been listed, while those in which a
nuclear war is narrowly averted or the world is blighted by a catastrophic
nuclear accident bearing no relation to war have been omitted (see the supplementary checklists for such items). However, often
when a work is included which clearly depicts nuclear war, related works on
similar themes by the same author are briefly discussed.
When an author publishes exclusively under a
pseudonym, his or her works are listed under that pseudonym; when an author has
used a pseudonym in some works and his or her real name in others, all the
works are listed under the author's real name. Titles are usually cited as
given in the first printing, with alternate titles following. (It has been
commonplace in science fiction for the same novel to bear different titles in
England and America.) Original publication data for works which first appeared
in magazines are given in parentheses before the first book publication (note:
except where a work's final form was very different from its first magazine
appearance, the magazine publication date is that cited in the preceding
commentary). All editions of a book in its country of origin (England or
America) are listed together in chronological order, followed by the editions
in the other country, also in chronological order. In the case of short stories,
appearances in volumes entirely devoted to the work of the author are listed
first, and others follow in chronological order, through the mid-1980s. Exceptions are made when the
first appearance of a story was in an anthology not by the author; then that
publication is listed first.
The very full listing of various editions for
these items is deliberate. Science fiction publishing is a very untidy
business: given pseudonymous works with shifting titles appearing erratically
from various publishers, it is difficult to identify and often impossible to
locate a standard edition. Libraries did not begin seriously to collect and
preserve science fiction until recently, and in some libraries science
fiction is not even catalogued. Most persons interested in reading in this
field will find their task vastly simplified by this bibliography, which
provides ample access to alternative printings of its listings. Donald H.
Tuck's The Encyclopedia of Science Fiction and Fantasy proved an indispensible
resource in this matter, and includes translations into foreign languages which
are omitted here. Tuck's bibliographical data feature an unfortunate number of
errors, however, and readers should be cautious about relying on it as a sole
resource. Although it lacks Tuck's useful subject descriptions, the standard tool to use in searching for editions of SF novels and stories is now The Locus Index to Science Fiction edited by Charles N. Brown & William G. Contento. It should be used to supplement the short story reprint data on this site, which were largely derived from Contento's earlier paper versions of his index.
Following the bibliographical data is a more or
less extensive commentary. This commentary is intended to be read as an
integral part of Nuclear Holocausts; works which are discussed in the text are briefly
described, with a page reference in brackets at the end of the entry indicating
where the reader may find fuller treatment. The commentaries are designed to
cover many points about each item, including the following: date of the fictional
holocaust concerned, its causes, any special name applied to it, its scope and
effects, and any other significant or unique features. The bibliography will
convey to the user the variety of ways in which the subject of nuclear war has
been treated in fiction, eliminating the need to peruse the hundreds of books
and stories listed. Unlike some other related bibliographies used in the
preparation of this work, the commentaries are extensive enough to give one a
clear idea of whether an item is worth pursuing by the interested researcher.
Note that, unlike many other bibliographies, this one reveals surprise endings,
because to avoid doing so would in many cases render the entry less useful.
Particularly poorly or well-written works are signalled, but in general
the focus of the bibliography is on thematic content rather than literary
The commentaries on some of the more obscure works
are even fuller than usual in the interest of providing as much information as
possible about stories and books which it is unlikely the user will be able to
locate. The commentary deliberately focuses on those aspects of the works which
deal with the theme of nuclear war, with the consequence that some very famous
works—like Nineteen-Eighty-Four and Lord of the Flie—which only touch on the subject, are given short shrift.
Secondary materials dealing with
nuclear war fiction are scant (see "Sources"), but relevant studies
have been listed with some entries. A number of novels are discussed at
considerable length in the compendious five-volume critical survey edited by
Frank N. Magill. Magill's work is arranged in alphabetical order by title with
continuous pagination throughout the five volumes; however, volume and page
numbers of the appropriate entries are provided here to facilitate their
Despite almost years of
searching, copies of some items could simply not be located for review. These
are clearly identified, along with a notation indicating in which other
bibliographies they are cited. In some cases, I received leads from other
scholars which I was unable to follow up, and which were not listed in the
bibliographies I used. These are simply listed as "unavailable for
review," with no additional annotation; but the persevering and fortunate
searcher may succeed better than I in locating them, given what information I
List of Abbreviations Used
Amazing (Amazing Stories)
Analog (Analog Science Fiction-Science Fact, formerly Astounding)
Astounding (Astounding Stories, 1931-February, 1938, Astounding Science Fiction, March 1938-January 1960; with the February 1960 issue, the magazine's title changed to Analog)
Blue Book (Blue Book Magazine)
Contento (William D. Contento, Index to Science Fiction Anthologies and Collections. Boston: G. K. Hall, 1982. And Index
to Science Fiction Anthologies and Collections, 1977-1983. Boston: G. K. Hall, 1984)
Fantasy and Science Fiction (The Magazine of Fantasy and Science Fiction)
Future (Future Science Fiction)
Galaxy (Galaxy Science Fiction)
If (If--Worlds of Science Fiction)
Magill (Frank N. Magill, ed., Survey of Science Fiction Literature. 5 vols. (Englewood Cliffs, N.J.: Salem Press, 1979)
Newman and Unsworth (John Newman
and Michael Unsworth, Future War Novels: An Annotated Bibliography of Works
in English Published Since 1946. Phoenix, Ariz.: Orxy, 1984)
Tuck (Donald H. Tuck, The
Encyclopedia of Science Fiction and Fantasy. 3 vols. Chicago: Advent, 1974, 1978, 1982).
Venture (Venture Science Fiction)
Nuclear Holocausts Bibliography: A
Aarons, Edward S. "The Makers of Destiny." Fantasy and Science Fiction, September 1959.
Mutants with psychic powers are persecuted as sorcerers in 2065, long after the Ten Day Atomic War. The protagonist discovers that he has repressed the knowledge that it was his ancestor who mistakenly reacted to a French atomic power plant explosion by hitting Russia with an H-bomb, setting off the holocaust. Both the superpowers have declined into primitivism, with the United States torn by a new civil war. The other nations, led by China, seek to keep the United States backward. In this regard, compare with Kim Stanley Robinson, The Wild Shore, and Whitley Strieber and James Kunetka, Warday.
Abbey, Edward. Good News.(Portions previously published in somewhat different form in New Times, Tucson Weekly News, and Tri-Quarterly.) New York: Dutton, 1980.
An ill-assorted group of rebels battles a military tyrant in this above-average postholocaust adventure tale set in a time when civilization has collapsed from ecocatastrophe and the limited use of nuclear weapons in local conflicts. The most striking character is a wonder-working Indian shaman, but all the characters are vividly depicted and memorable. Abbey is the well-known author of The Monkey-Wrench Gang (1975).
Abbey, Lloyd. The Last Whales. New York: Grove Weidenfeld, 1989. London: Bantam, 1991. New York: Ballantine, 1991.
Nuclear winter and the end of humanity from the point of view of whales and dolphins. Filled with remarkably convincing details about the lives and deaths of sea mammals with very few human beings actually depicted. Killer whales share the role as villains with humans.
Abe Kobo. The Ark Sakura. (Originally Hakobune no Sakura. Tokyo: Shinchosa, 1984.) Trans. Juliet Winters Carpenter. New York: Knopf, 1988.
An oddly-assorted group of people seeking shelter from the threat of nuclear war in a huge underground complex talk and quarrel about their situation and the invaders penetrating their stronghold. Their leader gets his foot stuck in a giant toilet, which seems to symbolize death. A huge dynamite explosion fools most of the people into believing a nuclear war has occurred, and they set about the grim business of surviving underground; but the fellow whose idea the ark was in the first place struggles out to the surface to find the city around him oddly transparent. It is not clear what this means, but perhaps a nuclear war really has happened. There is a mention of EMP knocking out computers. By the author of Woman of the Dunes and other well-known fiction.
Abernathy, Robert. "Heirs Apparent" (Fantasy and Science Fiction, June 1954). In Anthony Boucher, ed. The Best from Fantasy and Science Fiction: Fourth Series. Garden City, N.Y.: Doubleday, 1955. New York: Ace, 1960. Also in T. E. Dikty, ed. The Best Science Fiction Stories and Novels: 1955. New York: Fell, 1955. Also in Martin H. Greenberg and Joseph D. Olander, eds. Science Fiction of the 50's. New York: Avon, 1979. Also in Walter M. Miller, Jr. and Martin H. Greenberg, eds. Beyond Armageddon: Twenty-one Sermons to the Dead. New York: Donald I. Fine, 1985.
Despite the original editor's introduction scorning ordinary simple-minded anti-Soviet stories and noting that the author has a Ph.D. in Slavic from Harvard, this is a simple cold war parable. In post-World War III Russia, an isolated village struggles to survive, with a stranded American agricultural expert named Smith guiding it. When a dogmatic Communist Russian army colonel shows up, he asks the American what sort of infiltration he has been conducting. Replies our hero, Smith: "I was trying to beat part of a gunmounting into a plowshare." He points out to the belligerent colonel that his multiple skills are the result of the free market economy in which he was raised, which allowed him to move from job to job. Although the colonel demonstrates his own skill in helping to fight off a marauding band of robbers, his un-American mentality leads him to endanger everyone by insisting on keeping the village's cache of weapons under lock and key. Smith argues for the wisdom of the U.S. Constitution's clause establishing the right to keep and bear arms. The wily villagers smuggle the weapons into their homes and are prepared for the next attack. The colonel is killed, and the robbers--believing that towns attract atomic bombs and that safety lies in perpetual nomadism--force the villagers to leave. A new dark age is beginning: "In the West the light faded, and night fell with the darkness sweeping on illimitable wings out of Asia."
___. "When the Rockets Come." Astounding, March 1945.
Atomic bombs are being used by the Earth army against Martian villages. One soldier is a particularly enthusiastic combatant. His colonel compliments him, saying his sort of spirit is rare in modern times: "The fighting blood!--humanity has bred it out and killed it out with machines. The last group of men on Earth who were selected and bred to fight was the flying aristocracy of the airplane age, and most of that strain was wiped out when the atomic blast was invented, because the fightless people--the soft people, if you like--could still hate and press buttons." The soldier is captured, witnesses the effects of the bombing first hand, and is appalled, finally identifying with the Martians. Rather remarkable as a pre-Hiroshima story.
Ackerman, Forrest J. "The Mute Question" (Other Worlds, September 1950). In K[endell] F[oster] Crossen, ed. Adventures in Tomorrow. New York: Greenberg, 1951. New York: Belmont, 1968. London: Bodley Head, 1953. Also in Charles Nuetzel, ed. If This Goes On. Beverly Hills, Calif.: Book Company of America, 1965. Also in Robert Silverberg, ed. Mutants: Eleven Stories of Science Fiction. Nashville: Nelson, 1974.
A one-page trifle in which two mutants speculate on their origin, recalling the myth that "Man's son, Adam, created us all with the Adam bomb." It ends with: "The muties have a proverb: Two heads are better than none." Since in the body of the story the mutants are called "muties," the title presumably involves a pun on "moot."
Adams, Ian. The Trudeau Papers. Toronto: McClelland and Stewart, 1971.
A crazed Russian starts a nuclear exchange with the U.S.; but the missiles are exploded in mid-flight over Canada instead. The U.S. then occupies a devastated Canada.
Adams, John. When the Gods Came. London: John Spencer, 1960. New York: Arcadia House, 1967.
Mutants and humans battle savagely on an Earth largely destroyed forty years earlier in a short atomic holocaust. Despite antiscientific bias on the part of the public, a remnant of the government has kept research going and is preparing a devastating nuclear attack on the last stronghold of the enemy. The hero, a telepathic astronomer, is suspected of being a mutant, but he proves to be a descendant of an alien race which landed on Earth five thousand years earlier. Under duress, he helps the government destroy the enemy, then flees Earth with others of his kind in a rocket fortuitously uncovered by the explosion of an enemy atomic bomb.
Adams, Robert. The Coming of the Horseclans, Horseclans #1. Los Angeles: Pinnacle, 1975. New York: Signet, 1982.
It is 2550 A.D., six hundred years after the two-day war which plunged humanity back into barbarism. Most of southern California was tumbled into the Pacific, and various geologic upheavals have occurred since. Mutant telepaths who can communicate with jaguars and horses roam the plains and do battle with each other. There are lots of battle scenes, torture, and rape (especially rape of children). Mutant immortals called the "Undying" struggle against evil scientists from the prewar era who have perpetuated their minds by switching from body to body over the centuries. The mutant leader, Milo, aided by his wife (the short but sexy and mighty-in-battle Mara), takes the long view of rebuilding civilization: a few more centuries of barbaric combat will be necessary, enough to fill several books, at least. Other volumes in the series continue relentlessly portraying slaughter, torture, rape, incest, cannibalism, bestiality, necrophilia, etc. Adams emphasizes viciousness and obscenity to an extreme degree, only seldom touching on the theme of nuclear war. In volume 8 Adams kills off his favorite hero, but lets him linger on his deathbed reminiscing about past battles for four more volumes. Most of the sequels require no separate: treatment.
___. #2: Swords of the Horseclans. Los Angeles: Pinnacle, 1976. New York: Signet, 1981. 3
___. #3: Revenge of the Horseclans. Los Angeles: Pinnacle, 1977. New York: Signet, 1982.
___. #4: A Cat of Silvery Hue. New York: Signet, 1979.
___. #5: The Savage Mountains. New York: Signet, 1980.
___. #6: The Patrimony. New York: Signet, 1980.
___. #7: Horseclans Odyssey. New York: Signet, 1981.
In this volume it is denied that the various mutations present in the Horseclans world were caused by radiation, except, perhaps, for telepathy (p. 60).
___. #8: The Death of a Legend. New York: Signet, 1981.
___. #9: The Witch Goddess. New York: Signet, 1982.
This volume contains the explanation of the origins of the filthy cannibalistic tribe of savages known as "Ganiks." They are the descendants of radical vegetarian conservationists who consider all non-human species endangered and eat only other humans. Muses the protagonist, "Having . . . clear recollections of the various fringe-element movements--organic farming, ecology, the pollution fanatics, vegetarians, back-to-nature types--Erica . . . came to the conclusion that the Kuhmbubluhners were doing the only thing that any halfway sane and reasonable group of normal humans could do with the Ganik ilk--drive them out or kill every one of them" (p. 148).
__. #10: Bili the Axe. New York: Signet, 1982.
Chapter 4 contains a useful summary of the background of Adams's setting and the contents of earlier volumes.
___. #11: Champion of the Last Battle. New York: Signet, 1983.
___. #12: A Woman of the Horseclans. New York: Signet, 1983.
In chapters 9 and 10 Milo explores an ancient fallout shelter. This volume is unusual in being much less combat-oriented than the others.
Adams, Robert. Horseclans # 13: Horses of the North. New York: Signet, 1985.
Contains more about the nuclear war background of the Horseclans world than previous volumes, as the immortal mutant Milo Morai tells his quarreling comrades of how he founded the clans in a lengthy flashback. The nuclear holocaust was followed by massive plagues which killed even more people, and by numerous smaller military conflicts. An immortal Nazi doctor who views the war sees it as a purifying fire, exterminating the unfit. It is revealed that Hitler was a mutant.The big cats which play such an important role in the series come from a game park.
___. Horseclans #14: A Man Called Milo Morai. New York: Signet, 1986.
Contains nothing relating to nuclear war. Dedicated in part to Bernard Goetz, who shot two black teenagers on a New York subway.
___. Horseclans #15: The Memories of Milo Morai. New York: Signet, 1986.
___. Horseclans #16: Trumpets of War. New York: Signet, 1987.
___. Horseclans #17: Madman's Army. New York: Signet, 1987.
___. Horseclans #18: The Clan of the Cats. New York: Signet, 1988.
Adams, Robert and Pamela Crippen Adams. Friends of the Horseclans. New York: Signet, 1987.
___. Friends of the Horseclans II. New York: Signet, 1989.
Adler, Allen A. Mach 1: A Story of Planet Ionus. New York: Farrar, Straus Cudahy, 1957. As Terror on Planet Ionus. New York: Paperback Library, 1957.
Battle against an interstellar monster named Karkong which feeds on nuclear power plants. Friendly aliens called the "Grid," whose planet has been ravaged as a result of their refusal to use violent forms of assault on the beast, warn Earth. Although a macho admiral is frustrated in his desire to A-bomb the invader, the Russians do so, giving it vastly increased power. Finally Karkong is destroyed by penetrating its electric barrier with an advanced vehicle, allowing the Grid ship to strike it with lightning bolts. In exchange for their aid, the Grid are given Earth's nuclear power secrets.
Agawa Hiroyuki. Devil's Heritage. Trans. John M. Maki. Tokyo: Hokuseido Press, 1957.
Seven years after the war the protagonist is compiling a report on the casualties of the bombing of Hiroshima. A bitter, ironic attack on the American role in dropping the bomb and their later treatment of the Japanese. Some of those he interviews attack the Atomic Bomb Casualty Commission for its failure to treat the injuries it studies and for what is seen as the callous and racist attitudes of some of its staff. Members of a group of bomb victims called the "Willow Society" recount various horrors: the deaths of school children, revolting wounds, bizarre symptoms of radiation poisoning. The bombing of Nagasaki is criticized as unnecessary; ABCC findings that mutation rates were not above normal are questioned. It is noted that General MacArthur's wife helped to found a Japanese SPCA, but that the Americans displayed no comparable sympathy for human suffering. Some members of the Willow Society, however, argue that the Japanese themselves were partially responsible for the catastrophe that ended the war, and that they probably would have used the bomb themselves had they had it. According to one story, there was a rumor circulating in the hospitals that the Japanese did in fact have the bomb, had previously refrained from using it out of humanitarian considerations, but after the bombing of Hiroshima, had used it to destroy San Francisco and Los Angeles. Even deathly ill patients cheered at this news. The Japanese are not depicted as saintly victims: some of them cheated to get extra rations and insurance payments they were not owed, some stole watches and gold teeth from the dead. In general, however, the novel is intensely critical of the Americans, in contrast to the tone of Ibuse's Black Rain, with which it should be compared. Agawa lacks Ibuse's art, and a disproportionate amount of the book is dedicated to criticism of the ABCC, giving the work an odd focus which weakens its impact. The author credits two published nonfiction sources: Hachiya Michihiko's Gembaku Zatsawa (translated as Hiroshima Diary ) and Hayashi Yoshiro 's Ichiro (1951).
Ahern, Jerry. The Survivalist, #1, Total War. New York: Zebra, 1981.
Former medical student, ex-CIA agent, soldier of fortune, and survivalist John Thomas Rourke battles his way through war-wasted America. A relentlessly brutal chain of scenes of bloody combat focuses much attention on equipment, as in the first scene where the author notes his hero stabs his opponent with an "A. G. Russell Sting IA boot knife." Returned from Pakistan, where the Russians have invaded to protect the Afghanistan frontier, Rourke's wife Sarah is deeply troubled by his obsession with violence, but still loves him. A world crisis looms, however, and she allows him to tell her for the first time about the elaborate mountain shelter he has built; but, unfortunately he doesn't get around to telling her where it is.
Interwoven with tales of love between individuals of the East and West, a confrontation over the Pakistan invasion builds toward war. The Russians destroy a U.S. submarine, then attack American military targets, trusting their newly perfected beam weapon to defend them from incoming missiles. When this news is announced, one of the passengers on Rourke's plane (diverted from the now-destroyed Atlanta airport) has a heart attack, and Rourke shocks her heart into beating again with an electric hair dryer, then takes over the plane and crash-lands it. Meanwhile Sarah and the kids, having survived the initial attack, flee their house where leaking gas threatens an explosion, take up residence in the barn, and are promptly attacked by a band of would-be rapist-looters. Although she's scarcely handled a gun before, she picks off three of them handily and incinerates the other two by firing bullets into the gas-saturated house.
On the national scene, things are not going so well. The president, faced with incoming missiles, feels he has no choice but to order an attack. He then recites the Twenty-third Psalm and shoots himself to prevent the Russians from using him during the coming invasion. With four-fifths of the U.S. population and two-fifths of the Russians dead or dying, Britain has been destroyed and Western Europe invaded. (France is relatively intact for some reason; perhaps Ahern wished to avoid the tedium of repeating its experience of the first two world wars.) Most spectacularly of all, the bombs on the West Coast have caused half of California to fall into the ocean, just like those hippies used to say it would. In Chicago, which has been hit by "clean" neutron bombs, the Russians are landing. The midsection of the country will be an uninhabitable radioactive wasteland for a century or more, and the Earth may have been tilted off its axis, but only slightly.
Meanwhile, Rourke treats as many of the wounded plane passengers as he can, and goes for help in a nearby city with four other men, three of whom desert. The exception is a young fellow named Rubenstein who will shed his citified naivete and learn to enjoy slaughtering his fellow citizens like his mentor. Rourke and Rubenstein find a Geiger counter, strip off their radioactive clothes, and Rourke shoots a pack of attacking dogs. Comments Rubenstein: "That was spectacular. . . . You would have made one hell of a great cowboy in the old west, John Rourke." (Get along, little doggies?) Nine parts killer and one part lover, our hero unselfishly labors over the wounded in a makeshift hospital, returning to the plane to find the other passengers slaughtered by a gang of bikers. He kills all twelve of them, including a woman. (Ahern likes to include a token woman in his vicious gangs.) Rourke and Rubenstein recite the Twenty-third Psalm, torch the bodies, and slaughter forty more bikers from another gang. [46, 89-90]
___. The Survivalist, #2, The Nightmare Begins. New York: Zebra,
While the KGB is shooting teenage resistance fighters in Chicago, Rourke and Rubenstein are battling a paramilitary group and grimly eating their iron rations: baby food they've found in a truck, along with plenty of exactly the sort of ammunition they need. The two encounter a group of teenagers, all dying of radiation disease, who are bent on defending the town until their parents return. Rourke and Rubenstein rescue a beautiful KGB agent named Natalia whom Rourke eventually recognizes from a previous encounter in Latin America. Naturally she falls for Rourke, and when they are captured, helps them escape with the new president. Meanwhile Rourke's wife has killed the black and white members of the gang who seized and tortured her neighbor. (Ahern practices nondiscrimination: his villains are frequently black, female, or very young.) She buries the victim, then falls ill from drinking contaminated water. Finally arriving back home, Rourke finds her message tacked to the barn door telling him she has left with another family, kills four marauding youths, and takes off.
___. The Survivalist, #3, The Quest. New York: Zebra, 1981.
Rourke gives Rubenstein a tour of his Retreat, an impregnable fortress hidden in a mountain cave, with special emphasis on weapons (enumerated by make) and books (unnamed). His shelter contains the stocks of food, clothing, and tools one would expect; it also includes a machine shop, a distillery for making alcohol fuel for his vehicles, and an artificially lit greenhouse. On his list of necessities is "one item that made his skin crawl because it represented something he couldn't combat head-to-head: 'Geiger counter'." Indeed, although Rourke worries about radiation from time to time, he encounters none; a happenstance which lends support to his theory that survival is simply a matter of will power. Meanwhile, Natalia's husband, General Karamatzov, has jealously beaten and raped her, and her uncle, seeking vengeance, arranges to have Rourke ambushed and captured so he can kill the general. Rourke, having promised Natalia that he would spare Karamatzov, strikes a compromise by gunning the Russian down in a Western-style duel. Meanwhile Sarah and the kids have made it to safety. Rourke and Sarah glimpse each other in the distance, but fail to connect. For no apparent reason, she decides she needs to move on looking for him just hours before he succeeds in tracing her to her retreat. Poor at getting together, the couple excels at faithfulness: both resist adulterous overtures.
___. The Survivalist, #4, The Doomsayer. New York: Zebra, 1981.
Relations between Russians and Cubans are strained; but a greater danger threatens Florida than armed combat. A beautiful young seismologist Rourke rescues from a gang of Brigands tells him that a new geological fault formed during the war threatens to dump the entire state into the sea in the near future. The story takes a science fictional turn as hints turn up of a mysterious "Eden Project" launched by NASA when the war began. Sarah has proven herself a true survivor by knifing a Russian soldier to death and hijacking the boat he has been guarding. Meanwhile, Rubenstein, off to St. Petersburg to visit his parents, discovers and breaks into one of the concentration camps set up by the vicious Cubans to whom Florida has been ceded. At the last moment before Florida collapses, he finds his parents. Much activity by the hapless resistance occurs in this novel. Rourke briefly joins the official army, though bitterly critical of the government officials who caused the war.
___. The Survivalist, #5, The Web. New York: Zebra, 1983.
Rourke and his wife blast their way through the landscape, continually missing each other, although everyone else keeps stumbling into acquaintances in the most unlikely fashion. Florida is evacuated. Natalia turns renegade, and gives Rubenstein photographs of the captured plans of the Eden Project. Meanwhile Sarah exchanges favors with a Russian officer. It is clearer as these books go on that the professionals on both sides have far more respect for each other than for their less disciplined comrades. The outstanding episode of this volume is Rourke's encounter with the nonsurvivalists of the little town of Barrington, Kentucky, where the main industry is the manufacture of fireworks. In a plot reminiscent of Jonestown, these folks give their kids one last whale of a Fourth of July and blow themselves up. An attractive librarian with spiderlike propensities keeps Rourke tied up and drugged in her basement so they can die together. Through a combination of martial arts and vitamin B-complex shots, Rourke escapes.
___. The Survivalist, #6, The Savage Horde. New York: Zebra, 1983.
A reunited team of Natalia, Rubenstein, and Rourke is coerced into helping a fanatical military leader battle fanatical Wildmen in order to secure atomic missiles to be used against Russian headquarters in Chicago. Meanwhile Sarah continues to fight Brigands with the aid of her eight-year-old son, who is developing into quite a promising killer.
___. The Survivalist, #7, The Prophet. New York: Zebra, 1984.
Rourke defeats the Wildmen with Sidewinder missiles fired from an experimental fighter and thwarts the schemes of the renegade sub commander (who compares himself to the hero of On the Beach) to bomb Chicago. The weather turns ominous as the Russians continue to explore the military shelter known as "The Womb."
___. The Survivalist, #8, The End Is Coming. New York: Zebra, 1984.
Rourke is reunited with his family and learns new respect for Sarah as she and their son join in a shootout with some Brigands. (The family that slays together, stays together.) Meanwhile, the Russians have discovered the secret of the mysterious Eden Project. The aftermath of the war is about to annihilate all life on Earth save that protected by a special serum and frozen for five hundred years. The Eden Project is a group of 120 humans with associated animal embryos which have been launched into orbit to await Earth's rebirth. The Russians plot to seal themselves in The Womb (which turns out to be the former NORAD headquarters) and inherit the Earth themselves. Natalia's guardian, a decent Russian, offers serum to Rourke's fam fly in return for safe delivery of her to him in Chicago.
___. The Survivalist, #9, Earth Fire. New York: Zebra, 1984.
Rourke and his companions foil the Russian plot to destroy the Eden Project by wrecking their particle beam weapons and plundering their secret base. They take enough supplies to preserve themselves in the Retreat for five hundred years, unfortunately leaving behind with the evil KGB commander one vial of serum. The commander is apparently killed in a final assault on the Retreat, just as the sky catches fire and exterminates all animal life on Earth.
___. The Survivalist, #10, The Awakening. New York: Zebra, 1984.
Exactly 481 years later, Rourke awakes, trains his kids for five years in the art of killing, then puts himself back in suspended animation for sixteen years so that he, they, his wife, Natalia, and Rubenstein will all be of roughly the same age. Just before the others are due to awaken, son Michael goes exploring, discovers cannibals and a group of vicious survivors from a huge supershelter (it features a nine-hole golf course!) who have rigidly limited their numbers through ritual killing. He rescues a young woman with whom he plans to mate, but is captured. They are rescued by Rourke, Natalia, and Rubenstein in a bloody battle. At the end of the novel the Eden Project is sighted returning, and we learn that the KGB commander has survived after all and is still seeking vengeance on Rourke.
___. The Survivalist #11, The Reprisal. New York: Zebra, 1985.
___. The Survivalist #12, The Rebellion. New York: Zebra, 1985.
___. The Survivalist #13, Pursuit. New York: Zebra, 1986.
Rourke finds his daughter safe in a utopian colony in Iceland. The rest of his family is seized as hostages by the Russians, but he frees them, although his arch-nemesis Karamatzov escapes once more.
___. The Survivalist #14, Terror New York: Zebra, 1987.
___. The Survivalist #15, Overlord. New York: Zebra, 1987.
Rourke and Natalia struggle with the Russians for possession of a cache of unused nuclear weapons hidden in Chinese underground cities.
___. The Survivalist #16: The Arsenal. New York: Zebra, 1988. London: New English Library, 1988.
___. The Survivalist #17: The Ordeal. New York: Zebra, 1988. London: New English Library, 1988.
___. The Survivalist #18: The Struggle. New York: Zebra, 1989. London: New English Library, 1990.
___. The Survivalist #19: Final Rain. New York: Zebra, 1989. London: New English Library, 1990.
___. The Survivalist #20: Firestorm. New York: Zebra, 1990. London: New English Library, 1991.
___. The Survivalist #21: To End All War. New York: Zebra, 1990.
___. The Survivalist #22: Brutal Conquest. New York: Zebra, 1991.
___. The Survivalist #23: Call to Battle. New York: Zebra, 1992.
___. The Survivalist #24: Blood Assassins. New York: Zebra, 1992.
___. The Survivalist #25: War Mountain. New York: Zebra, 1993.
___. The Survivalist #26: Countdown. New York: Zebra, 1993.
___. The Survivalist #27: Death Watch. New York: Zebra, 1993.
___. The Survivalist: Mid-Wake. New York: Zebra, 1988. London: New English Library, 1989.
This volume is unnumbered, but was published between numbers 15 and 16. The Russians and Americans turnout each to have built undersea domed retreats in which they have survived for centuries, arming with nuclear weapons against each other. Natalia and Rourke are captured by the Russians, but Rourke escapes and rescues her, only to be shot and apparently killed just after she has decapitated her evil husband, Karamatzov.
___. The Survivalist: The Legend. New York: Zebra, 1990. London: New English Library, 1992.
This volume is unnumbered but was published after no. 22.
Aldiss, Brian W. "Basis for Negotiation" (New Worlds, January, 1962). In Airs of Earth. London: Faber, 1963. Also in Best Science Fiction Stories of Brian W. Aldiss. London: Faber, 1965 (omitted from the 1971 edition). Also in John Carnell, ed. Lambda I and Other Stories. New York: Berkley, 1964.
It's Munich revisited as a cowardly British government abrogates its treaties and declares neutrality in an American-Russian conflict which began in Sumatra. The Chinese claim they have hit Hong Kong with a nuclear bomb by accident. Satellite warfare rages. A British Communist party member assassinates a NATO deputy supreme commander. Russia launches an allout strike against the United States, but a new "geogravatic flux shield" stops all the missiles. The American president calls upon the Russians to give in, noting that peace is possible only because the British have remained neutral. Most of the story is a preachy critique of the disarmament movement, and the ending portrays a prime minister determined to cling to power. However, the ironic outcome of the story considerably obscures its point. See, for all Aldiss works, Richard Mathews, Aldiss Unbound: The Science Fiction of Brian W. Aldiss (San Bernardino, Calif.: Borgo Press, 1977). [More]
___. The Dark Light Years (expanded from version in Worlds of Tomorrow, April 1964). London: Faber, 1964. London: Four Square, 1966. New York: Signet, 1964.
This satirical tale of a human encounter with an alien race called "Utods" mentions three nuclear wars fought by the latter in the distant past which altered the climate of their planet.
___. The Eighty-Minute Hour: A Space Opera. London: Cape, 1974. London: Pan, 1975. Garden City, N.Y.: Doubleday, 1974.
In this wild fantasy, the lavish use of nuclear weapons has caused distortions in the space-time continuum which bounce the characters from era to era. This effect is used mainly to create various incongruities after the manner of Aldiss's postpsychedelic war novel Barefoot in the Head (1972). The Danube, blocked by a bomb, creates a European inland sea. The subtitle is a pun referring both to the nature of the plot and to the fact that the characters burst into song at intervals.
___. "FOAM," New Worlds, 1 (1991). Rpt. in A Tupolev Too Far. London: HarperCollins, 1993, pp. 55-76.
In this dreamlike fantasy of disintegrating reality, it is mentioned in passing that nuclear weapons have been used in the Crimea.
___. Frankenstein Unbound. London: Cape, 1973. London: Pan, 1975. London: Granada, 1982. New York: Random House, 1974. Greenwich, Conn.: Fawcett, 1975.
The same device used in the preceding novel reappears: nuclear weapons used in space create "timeslips" which allow the protagonist to travel from 2020 back to 1816, where he meets Frankenstein, his monster, and author Mary Shelley.
___. "The Gods in Flight" (Interzone, Autumn 1984; Isaac Asimov's Science Fiction Magazine, December, 1984). In Seasons in Flight. London: Cape, 1984.
After a war between the Warsaw Pact and NATO blankets the Northern Hemisphere in radioactive dust clouds, high-ranking military officials flee and crash-land on the Pacific island of Sipora where they are greeted by a wrathful god, which is perhaps a volcanic eruption. The USSR has also attacked China.
___. Moreau's Other Island. London: Jonathan Cape, 1980. Retitled An Island Called Moreau. New York: Timescape, 1981.
During a nuclear war between the United States and China on one side, and the USSR on the other, an undersecretary of state crash-lands in a space shuttle near a South Pacific island where a thalidomide victim named Dart continues the experiments of H. G. Wells's Dr. Moreau in the creation of half-human monsters. After various adventures and a frolic with supersensual Japanese seal-people, the undersecretary discovers that the island is a secret project of his own department intended to design a radiation-resistant race of humanoids for life after nuclear war. As in Wells's Island of Dr. Moreau (1896), the beasts revolt, and their creator is killed. In an epilogue, the war goes on, but whether the ocean's recuperative powers can cope with this disaster is unknown.
Alexander, David. Phoenix #1: Dark Messiah. New York: Leisure, 1987. London: Star, 1988.
Beginning of another postholocaust adventure series.
___. Phoenix #2: Ground Zero New York: Leisure, 1987. London: Star, 1988.
___. Phoenix #3: Death Quest New York: Leisure, 1988. London: Star, 1988.
___. Phoenix #4: Metalstorm. New York: Leisure, 1988.
___. Phoenix #5: Whirlwind. New York: Leisure, 1988.
Alter, Robert Edmond. Path to Savagery. New York: Avon, 1969.
A ruthless "loner" wanders through a wasted landscape, battling savage "flockers" (settlers) and "neanderthals" (crazed nomads), in quest of the perfect female. He joins an isolated settlement in an abandoned department store and duels with its ruler for possession of his woman. His ideal proves illusory, however, and he plunges back into the wilderness with an earthier female companion, seeking the fabled northern settlement of peace and progress called Genesis. For some reason, the nuclear bombs have prevented any rain from falling for years, but at the end of the novel hope is signaled by the onset of a shower. Basically a simple action yarn with very stereotyped manipulative, predatory women (although you can buy any of them for a piece of a tube of lipstick). The hero, however, is considerably more thoughtful and complex than the average pulp hero.
Alvarez, John. See under del Rey, Lester.
Amen, Carol. "The Last Testament." St. Anthony Messenger, September, 1980. Also in Ms., August, 1981.
This story, in the form of a journal, describes the suffering and death of a suburban family when the world is destroyed by nuclear war. At first people try to deny that the ill effects they experience are caused by fallout, even when babies begin to die. There is hoarding, but no rioting, looting, or rape. Source of the script for the 1983 film Testament. Compare with Clarkson, The Last Day, and Merril, Shadow on the Hearth.
Amis, Martin. "The Little Puppy That Could," in Einstein's Monsters. British edition?
New York: Harmony, 1987. New York: Vintage, 1990.
The story begins deceptively as a sentimental tale of a frolicsome puppy befriending a young girl; but it soon becomes apparent that humans fear and distrust dogs since a nuclear war has made the dogs human-eaters and rendered the humans defenseless. Mu tated humans are in fact ceremonially fed to a dog-beast. Women are now stronger than men. The days of the week have been renamed Sunday, Moonday, Tearsday, Woundsday, Thirstday, Fireday, and Shatterday.
___. "The Time Disease," in Einstein's Monsters. New York: Harmony, 1987.
Time is a debilitating disease which haunts a crowded and polluted world where the sky is discolored by the aftermath of limited nuclear wars. Sex is rare because of fear of disease and widespread depression. People live vicariously through television actors who write their own lines.
Amrine, Michael. Secret. Cambridge, Mass.: Houghton Mifflin, 1950.
A middle-aged scientist becomes involved in the Manhattan Project and works at Oak Ridge, witnesses the Trinity test, and investigates the after-effects of radiation in Hiroshima (this phase of his career is skipped over quickly). Little detail is provided about the bomb; the novel is mainly concerned with the security problems of its protagonist, which mirror those of Robert Oppenheimer. Clearly, the author is attacking Oppenheimer's persecutors. Deeply troubled by the moral implications of his involvement with the project, the scientist becomes active in advocating international control of atomic energy along the lines proposed by the Baruch Plan. Finally cleared by an investigation, he is asked to join a research project, headed by an ex-Nazi, to build a new radiation superweapon. He is ambivalent, but about to begin work, when the novel ends. He is said to have been a fan of "Astounding Fiction." A very serious if somewhat ineptly written meditation on the responsibility of scientists for the bomb.
Anderson, Andy. See under Anderson, William C.
Anderson, Poul. After Doomsday (expanded from "The Day After Doomsday," Galaxy, December, 1961, January, 1962). New York: Ballantine: 1962. London: Gollancz, 1963. London: Panther, 1965.
Three hundred men aboard an interstellar ship return to Earth to find it has been destroyed by an unknown enemy and that they themselves are under attack from a barrage of nuclear missiles. They go in search of the culprits and of a European ship crewed by women. The men rage, the women take tranquillizers to combat hysteria; the men fight, the women engage in trade. Finally it is revealed that a renegade world is responsible for Earth's death--it will be horribly punished by the rulers of an interplanetary federation. Meanwhile, men and women are reunited, but since there are more women than men, they will practice polyandry, except for the leaders, who prefer monogamy.
___. "A Chapter of Revelation." In Lester del Rey, ed. The Day the Earth Stood Still: Three Original Novellas of Science Fiction. Nashville: Nelson, 1972.
One of three stories (the others are Robert Silverberg's "Thomas the Proclaimer" and Gordon R. Dickson's "Things Which Are Caesar's") based on a common premise: that a miracle causes the sun to stand still. In Anderson's tale, the miracle halts the threat of a nuclear war which had begun with an exchange of bombs between the United States and China. The Russian and Chinese armies dissolve, but the Israelis attack Jordan and Syria. The garage owner who had originally thought of the idea of praying for such a miracle cannot think of any appropriate response to its occurrence; disillusioned mobs destroy his property and kill him. There is only muted hope for something better to emerge out of what seems to be the collapse of civilization.
___. "Cold Victory" (Venture Science Fiction, May 1957). In 7 Conquests: An Adventure in Science Fiction. New York: Macmillan, 1969. Also in Cold Victory. New York: Tor, 1982. Also in Reginald Bretnor, ed. Future at War, Vol. 2: The Spear of Mars. New York: Ace, 1980. [Note: Contento's Index incorrectly states this story originally appeared in Fantasy and Science Fiction.]
This story from Anderson's series of tales about the Psychotechnic League involves a civil war in the solar system in which nuclear weapons are used. The foreword to Cold Victory establishes that the entire series has as its background a nuclear holocaust which destroyed civilization.
___. "Disintegrating Sky" (Fantastic Universe, August, September, 1953). In Strangers from Earth. New York: Ballantine, 1961.
The world is about to be destroyed by "total disintegration bombs" at the will of its creator.
___. The Enemy Stars (originally "We Have Fed Our Sea," Astounding, August, September 1958). Philadelphia & New York: Lippincott, 1959.
Interstellar adventure with terrestrial nuclear war in the distant background. Loosely linked to the Maurai stories.
___. "For the Duration" (Venture Science Fiction, September, 1957). In Strangers from Earth. New York: Ballantine, 1961.
In a revolt against a post-World War III dictatorship, which uses a small atomic bomb against the rebels, the rebel leader is no better than the tyrant he overthrows.
___. "Inside Straight" (Fantasy and Science Fiction, August, 1955). In 7 Conquests: An Adventure in Science Fiction. New York: Macmillan, 1969. Also in Reginald Bretnor, ed. Future at War, Vol. 3: Orion's Sword. New York: Ace, 1980.
An interstellar war story containing an incidental mention of radioactivity associated with the firing of spaceship guns.
___. "Kings Who Die" (If, March 1962). In 7 Conquests: An Adventure in Science Fiction. New York: Macmillan, 1969. Also in Conflict. New York: Tor, 1983. Also in Judith Merril, ed. 8th annual Edition: The Year's Best S-F. New York: Simon & Schuster, 1963. New York: Dell, 1964. Rpt. as The Best of Science Fiction 4. London: Mayflower, 1965. Also in Frederik Pohl, ed. The Science Fiction Roll of Honor: An Anthology of Fiction and Nonfiction by Guests of Honor at World Science Fiction Conventions. New York: Random, 1975.
World War III and an ensuing nuclear stalemate caused by the enemy's threat to use doomsday weapons provide the background for a tale about human booby traps.
___. "Marius" (Astounding, March 1957). In The Horn of Time. New York: Signet, 1968. Also in The Psychotechnic League. New York: Pinnacle, 1981. Also in Reginald Bretnor, ed. The Future at War, Vol. 1: Thor's Hammer. New York: Ace, 1979. Also in J. E. Pournelle and John F. Carr, eds. There Will Be War. New York: Tor, 1983.
After Russia has been destroyed and Europe devastated by a nuclear war conducted according to the principles of "sociosymbolic logic" (a form of social analysis which recalls the psychohistory of Isaac Asimov's Foundation series), scientists must seize power to prevent another, even more catastrophic war.
___. Maurai and Kith. New York: Tor, 1982.
Three stories from the Maurai series together with two stories related to each other but without any bearing on nuclear war: "Ghetto" and "The Horn of Time the Hunter."
___. "The Sky People" (Fantasy and Science Fiction, March 1959). Also in The Best of Poul Anderson. New York: Pocket Books, 1976. Also in Robert R Mills, ed. A Decade of Fantasy and Science Fiction. Garden City, N.Y.: Doubleday, 1960. New York: Dell, 1962.
The Maurai, descendants of New Zealand's Maori, are the most powerful race in a world devastated by nuclear war. With a near- monopoly on technology, they ceaselessly strive to enforce an ecologically sound way of life, banning the use of nonrenewable resources and nuclear technology. In this story they use flame-throwers to battle pirates flying in blimps, asserting their control over international trade. As is true of many of these stories, the superiority of high technology over traditional Maurai culture is argued.
___. "Progress" (Fantasy and Science Fiction, January 1962). Also in The Horn of Time. New York: Signet, 1968.
Two hundred years later, a Maurai spy mission to India uncovers the secret construction of a fusion reactor and tries to destroy it. The story argues for cultural pluralism and against the uniformity produced by twentieth-century-style industrialism.
___. "Windmill." Also in The Dark Between the Stars. New York: Berkley, 1981. Also in Roger Elwood and Virginia Kidd, eds. Saving Worlds. Garden City, N.Y.: Doubleday, 1973. Also published as The Wounded Planet. New York: Bantam, 1974.
A Maurai agent discovers a community living off of irreplaceable groundwater, violating the "Law of Life." The main cause of the ancient nuclear war is said to have been overpopulation, shortage of resources.
___. "No Truce with Kings" (Fantasy and Science Fiction, June 1963). In Time and Stars. Garden City, N.Y.: Doubleday, 1964. New York: McFadden-Bartell, 1965. London: Gollancz, 1964. London: Panther, 1966. Also in Winners. New York: Pinnacle, 1981. Also in Isaac Asimov, ed. The Hugo Winners, Vol. 2. Garden City, N.Y.: Doubleday, 1971.
In a post-atomic war age, feudal wars rage across a fragmented America. Aliens manipulate the course of history, setting up a fake group of "espers" supplied with advanced technology, pressuring the human race toward a communitarian, non-materialistic culture, fearing that belligerent humans once more equipped with nuclear weapons will invade the galaxy Emphasis is on battle. Humans--as in most such stories--reject their guardianship; but, in a surprise ending, the hero's daughter decides to ally herself with the alien cause.
___. Orion Shall Rise. New York: Timescape, 1983. New York: Pocket Books, 1984.
A long, complex novel set in the world of Anderson's Maurai stories, centuries after the devastating war known variously as "The Doom War," "The Downfall," and the "Death Time." Among other matters this work details a plot by the Northwest Union (the northwestern portion of the former United States) to develop spacecraft powered by nuclear explosives to challenge the domination of their benevolent rulers who have restricted the development of technology. Although Anderson argues here in favor of nuclear power, limited nuclear war, whaling and space colonization, and against gun control, he is careful not to portray any one side of the several-sided conflict as wholly good or evil, and it is difficult to guess which will emerge triumphant--unless one already knows the author's politics. A superior political thriller with some fairly good characterization and at least one strong female character, although most of the women function primarily as lovers. Note that the NASA proposal to use small nuclear bombs to propel a space rocket was called the "Orion Project." [More]
___. Shield. New York: Berkley, 1974 (expanded from version in Fantastic, June, July, 1962).
Various groups struggle for control of a force-field shield developed with the aid of the Martians by a bright young man especially chosen and fostered to be of service from among the survivors of the second thermonuclear war.
__. The Star Beast" (Super Science Stories, September, 1950). In Strangers from Earth. New York: Ballantine, 1961. Also in Alden H. Norton, ed. Award Science Fiction Reader. New York: Award Books, 1966. Also in Kurt Singer, ed. Tales of Terror. London: W. H. Allen, 1967. Also in Donald L. Lawler, ed. Approaches to Science Fiction. New York: Houghton Mifflin, 1978.
Warlike colonists return to Earth and conquer it using atomic weapons. The hero defeats them by using a matter converter to create a critical mass of plutonium.
___. "The Star Plunderer" (Planet Stories, September, 1952). In The Long Night. New York: Tor, 1983. Also in Brian Aldiss, ed. Galactic Empires. Vol. 1. London: Weidenfeld & Nicolson, 1976. New York: St. Martin's Press, 1976.
The leader of a successful rebellion against barbaric alien rulers plans to establish a new human empire with himself as dictator. Both sides use nuclear weapons.
___. There Will Be Time. New York: Signet, 1973. Bound with The Dancer from Atlantis. New York: Signet, 1982.
A time-traveling mutant works to prevent the nuclear war he knows is pending. The war is the one called 'The Judgment," used as the background for the Maurai novels. This is a loosely connected member of that series. The mutant comes in conflict with a ruthless group of time travelers bent on battling the Maurai, and he defeats them. The novel ends with the victors planning flight to the stars. The early pages of the novel contain a good deal of satirical commentary on the radical movements of the sixties.
___. Thermonuclear Warfare. Derby, Conn.: Monarch, 1963.
This popular non-fictional account of the subject based largely on Kahn and Kissinger is neither extremely pessimistic nor overly sanguine.
___. "Time Lag" (Fantasy and Science Fiction, January, 1961). In The Queen of Air and Darkness and Other Stories. New York: Signet, 1973. Boston: Gregg, 1978. Bound with The Winter of the World. New York: Signet, 1982. Also in Conflict. New York: Tor, 1983. Also in Robert P. Mills, ed. Best from Fantasy and Science Fiction: Eleventh Series. Garden City, N.Y.: Doubleday, 1962. New York: Ace, 1966. London: Gollancz, 1964. London: Panther, 1966. Also in J. E. Pournelle, ed. Men of War: There Will Be War, Vol. 11. New York: Tor, 1984.
Ruthless invaders from a decadent overpopulated world assault a peaceful pastoral planet using nuclear missiles and atomic artillery. Taking advantage of the long periods of time required for the invaders to transport successive expeditions, the victims rapidly develop a high technology and defeat their enemies with superweapons.
___. Twilight World. New York: Torquil, 1961. Garden City, N.Y.: Doubleday, 1961. New York: Tor, 1983. London: Gollancz, 1962. London: Sidgwick & Jackson, 1963. London: Panther, 1976. Series of linked stories: "Prologue" as "Tomorrow's Children" in Astounding, March 1947 (see below, under Anderson and Waldrop); "Chain of Logic" as "Logic" in Astounding, March 1947; "The Children of Fortune," and "Epilogue," new to this edition.
"Prologue" is set two years after the war. Europe has been devastated, but parts of the Soviet Union (now dissolved into smaller states) and the United States are slowly recovering. A census is to be conducted to find out how many people have survived. Meanwhile it is becoming apparent that radioactive fallout has created a far greater number of mutations than might have been expected. In "Chain of Logic" eugenics is discussed and discarded and the possibility of the emergence of beneficial mutations discarded, yet at the story's end a super-logical mutant boy saves a town from bandits. More such favorable mutants are gathered together in "The Children of Fortune," and together they build a spaceship and take off to colonize Mars. There they encounter and battle their Siberian (i.e., Russian) counterparts, who wish to kidnap them and use them in a breeding program to create a super-race which will rule over the rest of humanity. The Siberians are defeated. In "Epilogue," set some thousands of years later, Earth is a barren wasteland, investigated by archeologists descended from the original mutated settlers of Mars who have moved on to colonize Jupiter's satellite Ganymede and other bodies. As in his other works, Anderson relies on high technology to solve problems. These stories fit in with the general theme of sympathy with homo superior.
___. Vault of the Ages. Philadelphia: Winston, 1952. New York: Gregg,
Five hundred years after "the Doom," barbarian tribes mine the cities for metal. Two boys use technology from a time vault to defeat invaders and cause the lifting of the taboo on the old knowledge. Philosophical wisdom also stored in the vault will prevent its misuse this time.
___. "Wildcat" (Fantasy and Science Fiction, November, 1958). In 7 Conquests: An Adventure in Science Fiction. New York: Macmillan, 1969. Also in Robert Silverberg, Martin H. Greenberg, and Charles G. Waugh, eds. The Science Fictional Dinosaur. New York: Avon, 1982.
Time travel to the future reveals the imminence of a nuclear holocaust, so settlers are sent into the Jurassic age (the technology won't permit anything more recent) with supplies to build rocket ships to settle other star systems.
Anderson, Poul and F. N. Waldrop. "Tomorrow's Children" (Astounding, March 1947). In Roger Elwood, ed. The Many Worlds of Poul Anderson. Radnor, Pa.: Chilton, 1974. Also in Poul Anderson. The Book of Poul Anderson. New York: DAW, 1975. Also in Groff Conklin, ed. A Treasury of Science Fiction. New York: Crown, 1948 (omitted from the 1957 Berkley paperback edition.) Also in Isaac Asimov and Martin H. Greenberg, eds. Caught in the Organ Draft. New York: Fawcett, 1981. Also in Damon Knight, Martin H. Greenberg and Joseph D. Olander, eds. First Voyages. New York: Avon, 1981. Also in Isaac Asimov and Martin H. Greenberg, eds. The Great Science Fiction Stories: 9 (1947). New York: DAW, 1983. Also in Walter M. Miller, Jr., and Martin H. Greenberg, eds. Beyond Armageddon: Twenty-one Sermons to the Dead. New York: _3 Donald I. Fine, 1985.
After a two-year war involving atomic and bacteriological weapons, few people survive, and the majority of births are abnormal. A mild form of nuclear winter is described: "The last three winters had come early and stayed long. Dust, colloidal dust of the bombs, suspended in the atmosphere and cutting down the solar constant by a deadly percent or two." A general who argues in favor of eugenic sterilizations must be convinced that there is no future for the unmutated human race. The story implicitly criticizes simplistic stories of survival, but is not entirely pessimistic. The general comments, "You were right. We should never have created science. It brought the twilight of the race." The protagonist replies, "I never said that. The race brought its own destruction, through misuse of science. Our culture was scientific anyway, in all except its psychological basis. It's up to us to take that last and hardest step. If we do, the race may yet survive." This was Anderson's first published story, and was later incorporated into Twilight World as "Prologue" (see above). Waldrop's contribution to the writing of this story is often unmentioned in the reprints.
Anderson, William C[Charles]. Pandemonium on the Potomac. New York: Crown, 1966.
In this comic novel, a man with strange powers and his beautiful daughter, claiming to be sent from Venus, force the world into disarming. The Russians cheat and secrete four H-bombs in American cities, blowing one up as a demonstration and threatening to explode the others unless the United States withdraws all its conventional forces from around the world. The Russians are foiled and it is revealed that the "aliens" are actually emissaries of the British, who have hatched this scheme to trick the superpowers into nuclear disarmament.
___ [as Andy Anderson]. The Valley of the Gods. Baraboo, Wis.: Andoll Publishing Co., 1957.
Unavailable for review. See Tuck.
Angell, Roger. "Some Pigs in Sailor Suits" (New Yorker, April 13, 1946). In The Stone Arbor, and Other Stories. Boston: Little, Brown, 1960. Freeport, N.Y.: Books for Libraries, 1970.
A colonel callously talks about the inadequacy of Hiroshima and Nagasaki as tests of nuclear bomb effects, and explains how pigs will be dressed in protective clothing for the upcoming Bikini tests.
Angus, Douglas. "About Time to Go South" (Esquire, February, 1957; Fantasy and Science Fiction, October, 1957). In John Bell and Lesley Choyce, eds. Visions from the Edge: An Anthology of Atlantic Canadian Science Fiction and Fantasy. Porters Lake, Nova Scotia: Pottersfield Press, 1981.
In the ruins of abandoned New York City, two men struggle with the problem of how to extract an aching tooth. The only clue that the destruction was caused by atomic bombing is the fact that all windows have been blown out.
Anthony, Piers. Battle Circle. New York: Avon, 1978. Originally published as three separate volumes: Sos the Rope. New York: Pyramid, 1968. London: Faber, 1970. London: Corgi, 1978. Var the Stick. London: Faber, 1972. London: Transworld, 1975. London: Corgi, 1975. New York: Bantam, 1973. Neq the Sword. London: Corgi, 1975.
A barbarian race with a highly formalized dueling code battles the "crazies" who control them, preventing civilization from rising again and bringing with it a new war. Heavy emphasis on combat, sex. According to Michael R. Collings (in Piers Anthony, Starmont Reader's Guide 20, [Mercer Island, Wash.: Starmont House, 1983], p. 16), Sos the Rope is a reworking of the author's 1956 B.A. thesis entitled "The UnstilledWorld." Collings rates Battle Circle much higher than I would. Listed erroneously in Newman and Unsworth as The Battle Circus.
Antrobus, John, and Spike Milligan. See Milligan.
Anvil, Christopher. "Pandora's Planet" (Astounding, September 1956). In John Campbell, ed. Prologue to Analog. Garden City, N.Y.: Doubleday, 1962. Also in Stanley Schmidt, ed. Analog: Writers' Choice: Anthology #5. New York: Davis, 1983.
Alien invaders, abashed to find Earth's people more intelligent than they, meet fierce resistance including atomic weapons.
Appel, Allen. Till the End of Time. New York: Doubleday, 1990.
A history professor travels back in time and strives to prevent the nuclear bomb from being dropped on Japan, but what he experiences in World War II teaches him instead the necessity of the atomic destruction of Hiroshima. The Japanese, it seems, besides carrying out inhuman experiments on captive subjects and developing a jet engine with the help of Amelia Earhart were developing the atomic bomb themselves. Modern Japanese are also depicted as corrupt and malevolent. A powerful anti-Japanese tirade presented as an adventure story.
Ariss, Bruce. Full Circle. New York: Avalon, 1963.
Almost the only survivors of the War of Poisoned Lightning are a million Indians scattered across the New World. Even the larger mammals are extinct. The Indians have banned all explosive weapons and the use of their simpler ones against each other, outlawed technology of all sorts, and alcohol. Atomic research is particularly taboo. Yet these are no simple primitives: their rejection of earlier technology comes from a sophisticated understanding of history. But trapped deep beneath Mount Rushmore one young man and eight women and girls survive, descendants of TOAD (Take Over After Destruction Project). When they emerge, all of them die of poison ivy except for the young man and his sister. He insists on following his orders to explore the world for surviving enemies in order to exterminate them with stored nuclear weapons, but finally learns there is no one left to fight. Then he plays a tape which reveals that the holocaust was mistakenly set off by the misinterpretation of a gigantic meteor impact. The two whites marry Indians and adopt their ways. Although some technology may be reintroduced into their culture, precautions will be taken to prevent a recurrence of the ancient tragedy.
Armbruster, Frank E., et al. A 1965 European Scenario Leading to Nuclear War. Hudson Institute HI-553-RR/1. June 1965.
Unavailable for review.
Armstrong, Michael. After the Zap. New York: Popular Library, 1987. One chapter, "The Vens Get a Nuke," in Fantasy and Science Fiction, August 1987.
A bizarre adventure story inspired by the common antiwar argument that if the button to launch a nuclear attack were implanted in the heart of a human being, a leader would be deterred from doing so. This thought experiment is emptied of all its meaning as five years after The Zap a group of nukers roam Alaska in an old Wonder Bread blimp, handing out what they claim are small nuclear devices and installing nuclear bomb triggers in the chests of the recipients' loved ones. Although the bombs turn out to be fakes, the point of the exercise remains unclear. The Zap was a violent burst of EMP which scrambled the brains of the surviving people in various weird ways, including loss of memory. In the end, the protagonist realizes that he was the creator of the Zap Bomb whose effects he detests so much.
___. Agviq. New York: Popular Libary, 1990. Expanded from Going After Arviq. In Janet Morris, ed. Afterwar. New York: Baen, 1985.
A female anthropology graduate student strives to teach Eskimos their own traditional ways so that they can survive during the nuclear winter. Much of the latter part of the book is devoted to details of whaling. It is revealed that the U.S. launched a first strike.
Aronstein, Robert. Untitled sketch in Earl W. Foell and Richard A. Nenneman, eds. How Peace Came to the World. Cambridge, Mass.: MIT Press, 1986.
A brief account of an East-West conflict leading to disarmament. An East German revolt leads to a European war and a Soviet nuclear attack on Chicago. The U.S. destroys Kiev in retaliation. A truce and peace treaty ensue in a shocked world, and growth toward world unity spreads. Unusual in that it is told from the point of view of a Russian.
Asghar, Khalida. "The Wagon,"trans. from Urdu by Muhammad Umar Memon. In Indian Literature 19:6 (Nov.-Dec. 1976), pp,. 119-131. Rept. in Jayana Clerk & Ruth Siegel, eds. Modern literature of the Non-Western World: Where the Waters are Born. New York: HarperCollins, 1995, pp. 361-370.
A haunting surrealistic sketch in which the narrator can see refugees and the pollution from a seeming nuclear war involving a nearby city creeping horrifyingly into an Indian village. Since no one but the narrator is willing to acknowledge the ominous changes taking place, the story can be read as an allegory of our willful blindness to the danger of nuclear war. A very rare example of a nuclear war story by a third-world woman author (from Pakistan).
Ashworth, Malcolm. "A Senoi Dream." In Gollancz/Sunday Times SF Competition Stories. London: Gollancz, 1987.
A young boy in a primitive tribe has a vision in which he seems his world as it might have been: a hell of nuclear war and its aftermath.
Asimov, Isaac. Foundation's Edge. New York: Doubleday, 1982. New York: Ballantine, 1983.
The nuclear death of Earth dealt with in Pebble in the Sky is briefly alluded to in this novel.
___. "The Gentle Vultures" (Super Science Fiction, December, 1957). In Nine Tomorrows. Garden City, N.Y.: Doubleday, 1959. Also in Noel Keyes. Contact. New York: Paperback Library, 1963. Also in Robert Silverberg, ed. Earthmen and Strangers. New York: Meredith, 1966.
Aliens keep watch over Earth from the back side of the Moon, waiting for a nuclear holocaust to erupt as it has on many other planets. Then they can conquer this world as they have others in the wake of similar conflicts.
___. Pebble in the Sky. Garden City, N.Y.: Doubleday, 1950. New York: Bantam, 1953. New York: Ballantine, 1983. London: Corgi, 1958. London: Sidgwick & Jackson, 1968. Also in Triangle. Garden City: New York, Doubleday, 1961.
A freak atomic accident transports the hero from 1949 thousands of years into the future to a time when Earth is largely a radioactive wasteland, populated by a few million inhabitants who are discriminated against by the rest of the galactic empire which has forgotten that Earth was humanity's original home. The hero foils a plot by xenophobic rebels to spread "radiation fever"--evolved in the hot zones created by the ancient holocaust--throughout the empire, killing everyone else. In a 1982 afterword, Asimov acknowledged that he no longer believed humans could survive on a radioactive Earth such as that depicted in this novel.
Asterley, H[ugh] C[ecil]. Escape to Berkshire. London & Dunmow: Pall Mall, 1961.
In this artless but effective picture of London in ruins, Asterley uses far more Hiroshima-style details than most writers: peeling strips of flesh, terrible sores, nakedness, etc. Yet he also introduces fantastic elements: the enemy is a dark-skinned race of unknown nationality, and the major threat to life in the countryside is a poisonous mycospore which grows over everyone and everything not treated with an antidote. The narrator (Tom, a former soldier) and his fiancée (Jill, a devout Christian who abhors violence) were trapped in an underground station when the H-bomb went off. The perimeter of the enormous crater which once was London has been dusted with radioactive elements beyond 150: neronium, rhadamanthium, satanium. After Tom saves Jill, he is almost forced to kill an old woman who insanely blames him for the death of her three children, but she providentially falls to her death. A man who has been robbing the dead takes Jill's crucifix and engagement ring, but a cockney paracommando kills him, allowing Tom to have the thief's nuclear pistol. Tom tries to free a group of people trapped underground, but succeeds only in blasting a hole through the crater wall, releasing a torrent which will eventually flood the London crater. A blind man asks whether he is dead, and Tom wants to put him out of his misery, but Jill rejects the idea. They find Tom's father dead, his house looted. They are caught between the vicious invaders who seem bent on exterminating the inhabitants, and the ruthless army patrols who shoot everyone suspected of looting. The heads of government are safely and ineffectually stowed on a submarine offshore. At Jill's suggestion, she and Tom set out for the home of a Berkshire priest with whom they had previously become acquainted. When Jill is seized by the enemy, Tom kills most of them, rescues her and forces their hovercraft to take them on their way. From the dying pilot they acquire the mycotoxin antidote which will save their lives. They find a pair of children and take them with them.
Austin, Richard (pseud. of Victor Milan). The Guardians. New York: Jove, 1985.
At the climax of international tensions partly caused by increasing U.S. covert military involvment in other nations, the USSR and her allies invade Western Europe, but the Polish, Czech, and Hungarian armies rebel, China and the Arab nations separately invade the Soviet Union, and other Eastern bloc nation's break away. In desperation, the USSR launches a nuclear strike in Europe, leading to a full-scale nuclear exchange which is referred to as the One-Day War. Civil defense plans on both sides fail, although shielding is used against EMP. 110 million Americans and 130 million Russians die. Unusually for this sort of action story, there is a great deal of attention paid to depicting the gruesome wounds of the bomb victims. The elite Guardians are a group of highly-trained military men whose mission is to escort the President to a midwestern supershelter known as Heartland. Their leader, McKay, is rescued from a menacing gang of street toughs near the beginning of the novel when a last H-bomb explodes over Washington D.C. Corrupt CIA men make a treasonous attempt to kidnap the president to make him a puppet of the mysterious European dictator Maximov; but the Guardians defeat them and drive the President in their heavily armored vehicle across the radioactive countryside. The National Guard creates a dictatorship which must be crushed in a bloody battle. At the end of the novel, it is revealed that their next important task is to find the missing "Blueprint for Renewal" which will enable the country to rebuild in the wake of the holocaust.
___. The Guardians [#2], Trial by Fire. New York: 1985.
Two weeks after the holocaust, conflicts are spreading around the globe. In
the chaos of fallen America survivalists are especially targeted by the
population as enemies. A sinister International Council rules Europe while the
corrupt chief of the CIA rules the U.S. The Russians have landed in Alaska. A
cult of antitechnological fanatics led by a villainous right-wing preacher is
assaulting a nuclear research center in Kansas City, and the Guardians must
rescue from it a crucial scientist who has some knowledge of the vital
"Blueprint for Renewal"; but he is immediately killed, muttering the mysterious
word, "Mahal," and the center falls to the mob. They discover that the Federal
Center outside Denver has been taken over by cultists who seize two of the
Guardians. The latter are tortured by a demonic figure clearly modelled on
William F. Buckley. They are destined to die by radiation exposure in a bomb
crater on Cheyenne Mountain when they are rescued at the last moment by their
comrades. They then discover the last living expert on the Blueprint (a female
economist) living in a libertarian freehold which is invaded by cultists using
nerve gas. The cult leader is killed and the townspeople avenged. Chapter 1
begins with a character playing the nuclear war video game, Missile Command.
There are references to the Mad Max films, to similar postholocaust films, and to The Day After.
___. The Guardians [#3], Thunder of Hell. New York: Jove, 1985. London: Pan, 1990.
The Guardians battle their way past cannibals to California, where the former lieutenant governor has set up a dictatorship headquartered at the old Hearst castle of San Simeon. The plot is complex, with many rival political groups struggling for power. The dictator has begun a collaboration with a group of Russian renegades under the mistaken impression that they represent the Soviet government. A right wing general sets himself up as a rival dictator. California is full of cultish groups, including a vicious offshoot of the United Farmworkers called the California Liberation Front. Leftists who have acquired an H-bomb kill each other off in a factional dispute; but a surviving leader takes the bomb to Disneyland and tries to set it off--unsuccessfully, because it has been sabotaged by one of the Russians. Road gypsies inspired by the Mad Max films are depicted. The nuclear winter theory is criticized. The author refers to Larry Niven and Jerry Pournell's Lucifer's Hammer (1977).
___. The Guardians [#4], Night of the Phoenix. New York: Jove, 1985. London: Pan, 1990.
The President turns up, asserting his authority, and accusing the Guardians and the Vice-President of treason. However, the Guardians discover that it is the President himself who is the traitor, for he has become a tool of the evil Federated States of Europe (FSE). They invade Heartland, seize the information it holds on the Blueprint, and destroy the complex. In the process they are joined by a new ally: a muscular black woman.
___. The Guardians [#5], Armageddon Run. New York: Jove, 1986.
The Guardians take the former Vice President, now President, to Kansas city where they discover that its black mayor is yet another traitor fronting for the FSE's world government plot, which is being assisted by Soviet troops. The Guardians battle their way back to Washington D.C. and hoist the flag once more over the White House. The author critiques the post holocaust scenarios of other writers. Rambo and and Dirty Harry are referred to.
___. The Guardians [#6], War Zone. New York: Jove, 1986
In Washington, the Guardians engage in battles with D.C. gangs, forming alliances with some of them (including one called Nuclear Winners ) to battle a gang led by a Russian FSE colonel.
___. The Guardians [#7], Brute Force. New York: Jove, 1987. London: Pan, 1991.
The Guardians battle invading Cubans and FSE troops for possession of a secret fusion power station in Louisiana. Refrence is made to the fact that the Chernobyl accident caused the closure of American nuclear reactors. Reference is also made to Rambo.
___. The Guardians [#8], Desolation Road. New York: Jove, 1987. London: Pan, 1991.
FSE forces in California rebel. The Guardians slaughter pirates. The FSE withdraws from the U.S. to defend Europe from invading Turkish Shiite fanatics.
___. The Guardians [#9], Vengeance Day. New York: Jove, 1987.
___. The Guardians [#10], Freedom Flight. New York: Jove, 1988.
___. The Guardians [#11], Valley of the Gods New York: Jove, 1988.
___. The Guardians [#12], The Plague Years. New York: Jove, 1988.
___. The Guardians [#13], Devil's Deal. New York: Jove, 1989.
___. The Guardians [#14], Death from Above. New York: Jove, 1990.
___. The Guardians [#15], Snake Eyes. New York: Jove, 1990.
___. The Guardians [#16], Death Charge. New York: Jove, 1991.
Avallone, Michael. Beneath the Planet of the Apes. New York: Bantam, 1970.
A second party of explorers comes seeking the first. The only surviving crew member is captured, released by friendly apes, and discovers living beneath the ruins of New York City superhumans who worship a doomsday device, which they set off as attacking apes invade their threshold.
Axler, James (pseud. of Laurence James). Deathlands: Dectra Chain. City: Worldwide Library, 1988. Toronto: Gold Eagle, 1989.
___. Deathlands [#2], Red Holocaust. Toronto: Gold Eagle, 1986.
Nuclear winter still grips Alaska nearly a century after Doomsday: June 20, 2001. The west coast fell into the ocean. A brutal band of barbaric Russians called Narodniki invade Alaska, pursued by regular Russian troops, and battle a band of heroic Ameri cans led by Ryan Cawdor. They must also deal with bizarre mutants living in a deep supershelter. They encounter a tribe which worships nuclear war a nd practices human sacrifice and destroy it using a leftover nuclear missile. After the Narodniki are destroyed, the Russians return to Russia. The protagonists enter a mysterious chamber to be transported to somewhere warmer. The fate of Judge Crater, who disappeared mysteriously in 1930, explained: he was snatched into the distant future, but arrived there mutilated and dead.
___ . Deathlands [#3]: Neutron Solstice. Toronto: Gold Eagle, 1987.
Cawdor and seven companions emerge from a gateway into Louisiana where they must fight tough mutants with dual circulatory systems. Neutron bombs were used in the war: many buildings have been preserved.
___ . Deathlands [#4]: Crater Lake. Toronto: Gold Eagle, 1987.
___ . Deathlands [#5]: Homeward Bound. Toronto: Gold Eagle, 1988.
___ . Deathlands [#6]: Pony Soldiers. Toronto: Gold Eagle, 1988. London: Gold Eagle, 1989.
Axler, James. Deathlands [#7]: Dectra Chain. City: Worldwide Library, 1988. Toronto: Gold Eagle, 1989.
___ . Deathlands [#8]: Ice and Fire. Toronto: Gold Eagle, 1988.
___ . Deathlands [#9]: Red Equinox. Toronto: Gold Eagle, 1989.
___ . Deathlands [#10]: Northstar Rising. Toronto: Gold Eagle, 1989.
___ . Deathlands [#11]: Time Nomads. Toronto: Gold Eagle, 1990.
___ . Deathlands [#12]: Latitude Zero. Toronto: Gold Eagle, 1991.
___ . Deathlands [#13]: Seedling. Toronto: Gold Eagle, 1991.
___ . Deathlands [#14]: Dark Carnival. Toronto: Gold Eagle, 1992.
___ . Deathlands [#15]: Chill Factor. Toronto: Gold Eagle, 1992.
___ . Deathlands [#16]: Moonfate. Toronto: Gold Eagle, 1992.
___ . Deathlands [#17]: Fury's Pilgrimage. Toronto: Gold Eagle, 1992.
___ . Deathlands [#18]: Shockscape. Toronto: Gold Eagle, 1993.
___ . Deathlands [#19]: Deep Empire. Toronto: Gold Eagle, 1994.
___ . Deathlands [#20]: Cold Asylum. Toronto: Gold Eagle, 1994.
___ . Deathlands [#21]: Twilight Children. Toronto: Gold Eagle, 1994.
___ . Deathlands [#22]: Rider, Reaper. Toronto: Gold Eagle, 1994.
___ . Deathlands [#23]: Road Wars. Toronto: Gold Eagle, 1994.
___ . Deathlands [#24]: Trader Redux. Toronto: Gold Eagle, 1995.
___ . Deathlands [#25]: Genesis Echo. Toronto: Gold Eagle, 1995.
___ . Deathlands [#26]: Shadowfall. Toronto: Gold Eagle, 1995.
___ . Deathlands [#27]: Ground Zero. Toronto: Gold Eagle, 1995.
___ . Deathlands [#28]: Emerald Fire. Toronto: Gold Eagle, 1995.
___ . Deathlands [#29]: Bloodlines. Toronto: Gold Eagle, 1995.
___ . Deathlands [#30]: Crossways. Toronto: Gold Eagle, 1996.
___ . Deathlands [#31]: Keepers of the Sun. Toronto: Gold Eagle, 1996.
___ . Deathlands [#32]: Circle Thrice. Toronto: Gold Eagle, 1996.
___ . Deathlands [#33]: Eclipse at Noon. Toronto: Gold Eagle, 1996.
___ . Deathlands [#34]: Stoneface. Toronto: Gold Eagle, 1996.
___ . Deathlands [#35]: Bitter Fruit. Toronto: Gold Eagle, 1997.
___ . Deathlands [#36]: Skydark. Toronto: Gold Eagle, 1997.
___ . Deathlands [#37]: Demons of Eden. Toronto: Gold Eagle, 1997.
___ . Deathlands [#38]: The Mars Arena. Toronto: Gold Eagle, 1997.
___ . Deathlands [#39]: Watersleep. Toronto: Gold Eagle, 1997.
___ . Deathlands [#40]: Nightmare Passage. Toronto: Gold Eagle, 1998.
___ . Deathlands [#41]: Freedom Lost. Toronto: Gold Eagle, 1998.
___ . Deathlands [#42]: Way of the Wolf. Toronto: Gold Eagle, 1998.
___ . Deathlands [#43]: Dark Emblem. Toronto: Gold Eagle, 1998.
___ . Deathlands [#44]: Crucible of Time. Toronto: Gold Eagle, 1999.
___ . Deathlands [#45]: Starfall. Toronto: Gold Eagle, 1999.
___ . Deathlands [#45]: Starfall. Toronto: Gold Eagle, 1999.
___ (pseud. of Nick Pollotta). Deathlands [#46]: Gemini Rising. Toronto: Gold Eagle, 1999.
>___ (pseud. of Nick Pollotta) Deathlands [#47]: Gaia's Demise. Toronto: Gold Eagle, 1999.
>___ (pseud. of Nick Pollotta) Deathlands [#48]: Dark Reckoning. Toronto: Gold Eagle, 1999.
>___ (pseud. of Nick Pollotta) Deathlands [#49]: Shadow World. Toronto: Gold Eagle, 2000.
>___ (pseud. of Nick Pollotta) Deathlands [#50]: Pandora's Redoubt. Toronto: Gold Eagle, 2000.
>___ (pseud. of Nick Pollotta) Deathlands [#51]: Rat King. Toronto: Gold Eagle, 2000.
>___ (pseud. of Nick Pollotta) Deathlands [#52]: Zero City. Toronto: Gold Eagle, 2000.
>___ (pseud. of Nick Pollotta) Deathlands [#53]: Savage Armada. Toronto: Gold Eagle, 2001.
>___ (pseud. of Nick Pollotta) Deathlands [#54]: Judas Strike. Toronto: Gold Eagle, 2001.
>___ (pseud. of Nick Pollotta) Deathlands [#55]: Shadow Fortress. Toronto: Gold Eagle, 2001.
>___ (pseud. of Nick Pollotta) Deathlands [#56]: Sunchild. Toronto: Gold Eagle, 2001.
>___ (pseud. of Nick Pollotta) Deathlands [#57]: Breakthrough. Toronto: Gold Eagle, 2002.
Axler, James (pseud. of Mark Ellis). Outlanders [#1]: Exile to Hell. Toronto: Gold Eagle, 1997.
Axler, James (pseud. of Mark Ellis). Outlanders [#2]: Destiny Run. Toronto: Gold Eagle, 1997.
___ . Outlanders [#3]: Omega Path. Toronto: Gold Eagle, 1997.
___ . Outlanders [#4]: Savage Sun. Toronto: Gold Eagle, 1997.
___ . Outlanders [#5]: Parallax Red. Toronto: Gold Eagle, 1998.
___ . Outlanders [#6]: Doomstar Relic. Toronto: Gold Eagle, 1998.
___ . Outlanders [#7]: Iceblood. Toronto: Gold Eagle, 1998.
___ . Outlanders [#8]: Hellbound Fury. The Lost Earth Saga Book 1. Toronto: Gold Eagle, 1999.
___ . Outlanders [#9]: Night Eternal. The Lost Earth Saga Book 2. Toronto: Gold Eagle, 1999.
___ . Outlanders [#10]: Outer Darkness. The Lost Earth Saga Book 3. Toronto: Gold Eagle, 1999.
___ . Deathlands [unnumbered]: Encounter. Toronto: Gold Eagle, 1999.
Deathlands and Outlanders Web site.
A B C D E F G H I J K L M N O P
R S T U V W Y Z
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