THE FACE IN THE ABYSS

"Her face was ageless - neither young nor old; free from time, free from the etching acid of the years. She might have been born yesterday - or a million years ago. Her eyes, set wide apart, were round and luminous; they were living jewels filled with purple fires. Her forehead was wide and low; her nose delicate and long the nostrils a little dilated. Her chin was small and pointed. Her mouth was small and hear-shaped; her lips were vivid scarlet. Down her narrow, childish shoulders flowed hair that gleamed like spun silver. It arrow-headed into a point on her forehead. It gave her face that same heart shape in which her lips were formed - a heart of which the chin was the basal point.She had little high breasts, uptilted. Her face, neck, shoulders and breasts were the hue of pearls suffused faintly with rose. Her coils began just below her tilted breasts."

Futura paperback, 1974. Cover by Patrick Woodroffe.

Patrick Woodroffe's full artwork.

WALDO + MAGIC INC

Pan paperback, 1975. Cover artwork by Patrick Woodroffe.

Rear cover and synopsis, etc.

THE HALF-ANGELS

Sphere SF paperback, 1975. Cover painting by Patrick Woodroffe.

Back cover fluff. 

"The book was like no other he had ever seen. The language was alien to the Earth, and the shifting, changing patterns of the illustrations seemed to spell a deadly, dreadful story. The book was a gateway: a transtemporal link point between two worlds. And soon he found himself in that strange other world. It was a weird, alien place of soul-destroying danger, a place in which he had a quest. To survive, he must hunt down the lost daughter of the witch-king, a girl who might be an angel. Or a demon."

MYTHOPOEIKON

Dragon's World paperback, 1976. © copyright Patrick Woodroffe

Cover painting for Three Hearts And Three Lions by Poul Anderson.

Cover painting for The Warlord Of The Air by Michael Moorcock.

Painting for Joe Haldeman's The Forever War.

"It is strange how we cling to the concepts of 'up' and 'down' when designing such machines. Surely these terrestrial attitudes will melt away once real ships are built for flight in deep space. But the illustrator is drawing for today's perspectives, and the book jacket must have a distinctly 'right way up' look."

Painting for Frederik Pohl's Day Million.

THE FOREVER WAR

Orbit paperback, 1976. Cover painting by Patrick Woodroffe.

"My name is Private Mandella. 

I am one of the elite of the Earth. I have an IQ over 150: I have unusual health and strength and I have been conscripted to guard humanity against the Tauran menace on some lonely outpost of the galaxy. 

The catch is - the way to get back home is after a combat tour, which because of the collapsar jump could last a century or two. That won't matter, I'll only be a few months older, but I won't recognise the earth I left. And, of course, not fitting in I won't want to stay there so I'll re-enlist, and when I return as a veteran they won't even speak my language... 

The army is my home now. 

But that's what they planned all along wasn't it...Wasn't it?"