THE BEST OF OMNI SCIENCE FICTION NO. 4

The Best Of Omni Science Fiction No. 4, 1982. Cover painting by Michael R. Whelan.

"Three never-before-published stories and two science fiction classics are included among the contents of this, the fourth in a very popular and widely-selling series. The volume is organized into five sections and is illustrated throughout with artwork that has earned for Omni magazine a reputation for superlative graphics. Two of the sections consist of outstanding stories and pictorials originally published in Omni and believed by the editors of this anthology to possess an extraordinary and still-unfolding talent. The section of sf originals is highlighted by Spider Robinson's story "Rubber Soul" - a new kind of science fiction in which the return of a martyred rock superstar puts right certain celebrated relationships. The science fiction classics section is comprised of a renowned story by Alfred Bester and one by Brian W. Aldiss. Each a giant of the genre."

Contains Our Lady Of The Sauropods by Robert Silverberg, Dreamtime, a pictorial of paintings by various artists, Marchianna by Kevin O'Donnel, Jr., Dark Sanctuary by Gregory Benford, Sigmund In Space by Barry N. Malzberg, Light Voyager, a pictorial of paintings by John Berkey, Valley Of The Kilns by James B. Hall, Fat Farm, Quietus, St. Amy's Tale and Deep-Breathing Exercises as part of an Orson Scott Card celebration, Noble Savage, a pictorial of paintings by Boris Vallejo, Rubber Soul by Spider Robinson, I Am Large, I Contain Multitudes by Melisa Michaels, Love Calls by Oxford Williams, Fondly Fahrenheit by Alfred Bester, My Lady Of The Psychiatric Sorrows by Brian W. Aldiss, Out Of Luck by Walter Trevis, Return From The Stars by Stanislaw Lem, Transformations, a pictorial of artwork by Bob Venosa and Marshall Arisman, The President's Image by Stephen Robinett, Future Books by Cynthia Darnell, Soul Search by Spider Robinson, Save The Toad! by Norman Spinrad, Giant On The Beach by John Keefauver, Strike! by Isaac Asimov, The Last Jerry Fagin Show by John Morressy and Eastern Exposures, a pictorial of paintings by various artists.

Painting by Don Dixon.

Painting by Morris Scott Dollens that accompanied Barry N. Malzberg's
Sigmund In Space.

Painting by John Berkey, from his pictorial Light Voyager.

Painting by John Berkey, from his pictorial Light Voyager.

Painting by John Berkey, from his pictorial Light Voyager.

Painting by John Berkey, from his pictorial Light Voyager.

Painting by Bob Venosa, accompanying Valley Of The Kilns by
James B. Hall.

Painting by Marshall Arisman, from Robert Sheckley's
Transformations pictorial.

"Transformation - its prediction, its control, its meaning - has always been the province of the priest, the shaman, and the artist. Magic itself, the precursor of science, is essentially the study and control of changes. Alchemy, the study of magical transformations, metamorphoses into chemistry, the study of transformations in substances. Scientists look to artists for insights into the nature of the world. Art delineates the processes of the imagination, creating syntheses of fantastic and factual elements too complex to be explained in words."

Painting by Marshall Arisman, from Robert Sheckley's Transformations
pictorial.

"We shuffle things and arrange them, not as they are, but as we want them to be."

THE BEST OF OMNI SCIENCE FICTION NO.6, 1983

The Best Of Omni Science Fiction No. 6, 1983. Painting by Michael Parkes.

"With six volumes now published in this very successful series, we are committed to the above title, even though it consists not only of reprints but of never-before-published stories as well. This has been straightforwardly stated on the covers of volumes two through five. Nevertheless, we still occasionally come upon a surprised, albeit pleased, reader who exclaims, "Original stories? Really!" Yes. Absolutely. Here, along with ten reprints from Omni and two classic stories, are five originals, all so good that they, too, can be categorized among the best - although some science fiction purists will no doubt that one or two of these originals strain the boundaries of the genre. Perhaps. But science fiction has long been in a state of flux; stirring it up some more can only be for the good. And another thing, just what is science fiction? Harlan Ellison, for example, vehemently contends that he's not a science-fiction writer, yet he enthusiastically contributed one of the original stories in this book and two of the reprints are his. All this seems just and proper: a title that is indefinite, some stories that may be considered as more fantasy than science fiction, an author of science fiction who says he isn't. Ambiguity is a common condition in the world of imaginative literature. Happily, it is so - for our reading pleasure."

Contains A Sepulcher Of Songs by Orson Scott Card, Johnny Mnemonic by William Gibson, a pictorial on the artist Paul Wunderlich, a Harlan Ellison celebration, including Chained To The Fast Lane In The Red Queen's Race, When Auld's Acquaintance Is Forgot, On The Slab, an appreciation by Robert Silverberg, A Blossom In Ares by Jack Massa, a pictorial of Rowena Morrill's paintings, A Brief Dance To The Music Of The Spheres by Michael Kurland, The Holy Father by Michael Cassutt, Intermezzo by Melisa Michaels, Kyrie by Poul Anderson, The Hero As Werwolf by Gene Wolfe, Angel At The Gate by Russell M. Griffin, Standing Woman by Tsutsui Tasutaka, A Cage For Death by Ian Watson, The Macrobiotic Revolution by Ian Stewart, Last Waltz by Warren Brown, Spider Robinson's God Is An Iron and a pictorial on photographer Pete Turner.

Painting by Paul Wunderlich, from a pictorial of the artist's work.

Painting by Michel Henricot that accompanied Michael Kurland's
A Brief Dance To The Music Of The Spheres.

Painting by Marshall Arisman that accompanied A Cage For Death by Ian Watson.