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Edgar Allan Poe's great private investigator, Auguste Dupin, gets a make-over in this unusual adventure involving a bloody mystery dipped deep in the strange. A young woman comes to Dupin and his assistant for help concerning her increasingly obsessed brother; obsessed with the dark world that sets alongside our own, where strange creatures dwell and even stranger events occur. A world where our laws of physics are no longer applicable. A world with its own geometry of evil. It's the place from which all our nightmares spring. And now that dimensional world, due to spells and sacrifices, is wide open into our own, releasing the deadliest denizen of the dark--The God of the Razor. It's a case that will require all of Dupin's knowledge and the highest courage from his faithful assistant, as they traverse the Parisian streets, as well as the famous Catacombs of skulls and bones, in search of answers. Full of twists and surprising revelations, steeped in cold blood and endless shadows, this one is an exciting mind-bender, as well as a magnificent adventure of action and deduction.

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

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

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

Laurie Moss seemed to come out of nowhere, but behind those songs, behind that powerful voice, lies a history. Say Goodbye takes you from her Texas roots to her first recording contract, from her struggling days in LA to her final tour-and beyond. It's also the story of her relationship with the legendary singer and songwriter Skip Shaw, whose passion for self-destruction illuminated her career like a bonfire.The battlefield for Say Goodbye may be the music industry, but its themes are universal: success and failure, love and loss, obsession and forgiveness.

Maria Isabella Boyd's success as a Confederate spy has made her too famous for further espionage work, and now her employment options are slim. Exiled, widowed, and on the brink of poverty...she reluctantly goes to work for the Pinkerton National Detective Agency in Chicago. Adding insult to injury, her first big assignment is commissioned by the Union Army. In short, a federally sponsored transport dirigible is being violently pursued across the Rockies and Uncle Sam isn't pleased. The Clementine is carrying a top secret load of military essentials-essentials which must be delivered to Louisville, Kentucky, without delay. Intelligence suggests that the unrelenting pursuer is a runaway slave who's been wanted by authorities on both sides of the Mason-Dixon for fifteen years. In that time, Captain Croggon Beauregard Hainey has felonied his way back and forth across the continent, leaving a trail of broken banks, stolen war machines, and illegally distributed weaponry from sea to shining sea. And now it's Maria's job to go get him. He's dangerous quarry and she's a dangerous woman, but when forces conspire against them both, they take a chance and form an alliance. She joins his crew, and he uses her connections. She follows his orders. He takes her advice. And somebody, somewhere, is going to rue the day he crossed either one of them.

V[n is a scholar from a poor background, eking out a living in the orbitals of the Scattered Pearls Belt as a tutor to a rich family, while hiding the illegal artificial mem-implant she manufactured as a student. Sunless Woods is a mindship"€"and not just any mindship, but a notorious thief and a master of disguise. She's come to the Belt to retire, but is drawn to V[n's resolute integrity. When a mysterious corpse is found in the quarters of V[n's student, V[n and Sunless Woods find themselves following a trail of greed and murder that will lead them from teahouses and ascetic havens to the wreck of a mindship"€"and to the devastating secrets they've kept from each other.