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R.U.R. (Rossum's Universal Robots) is a science-fiction drama that was first presented in Czech in 1921. It introduced the term "robot", which is derived from a Czech word meaning "worker," to international vocabulary. The action opens in a factory that has successfully produced thousands of robots, who are essentially mindless drones. An idealistic humanitarian activist launches a plan to imbue some of the robots with human traits. The robots which have been humanized then assume leadership over the other robots and seek to organize them in a revolution to take over the world.

I Can Jump Puddles is Alan Marshall's story of his childhood - a happy world in which, despite his crippling poliomyelitis, he plays, climbs, fights, swims, rides and laughs. His world was the Australian countryside early last century: rough-riders, bushmen, farmers and tellers of tall stories - a world held precious by the young Alan Marshall.

Between 1895 and 1901 H. G. Wells wrote six science fiction novels, which have become among the most celebrated examples of the genre. In this collection, Wells explores a number of topics that have since become very common subjects in science fiction, including time travel, celestial beings, eugenics, alien invasion, and space exploration.

Yvette, daughter of the Anglican rector of an East Midlands village, is awakened to the possibilities of life and love by an encounter with a dark, handsome gypsy. Published shortly after Lawrence’s death in 1930, this short novel was written in 1926 and was a precursor to Lady Chatterley’s Lover.

The Invisible Man was the fourth sci-fi novel written by Wells in the 1890s. The main character, Griffin, is one of the intimidating villains in all popular literature. The archetypal "mad scientist," Griffin devotes himself to an obsessive study of optics and realizes his ambition to render livings things permanently invisible. After making a cat invisible, he successfully applies the procedure to himself. After causing chaos in London, he travels to the village of Iping in Sussex and takes up residence in a local hotel.

Siegmund deserts his family in the London suburbs for a five day holiday on the Isle of Wight with his lover and violin pupil Helena. Despairing of both his marriage and his future with Helena, Siegmund returns home and takes his own life. Made of stronger stuff, Helena and Beatrice, his wife, move on.

At the extreme tip of South America, Staten Island has piercing Antarctic winds, lonely coasts assaulted by breakers, and sailors lost as their vessels smash on the dark rocks. Now that civilization dares to rule here, a lighthouse penetrates the last and wildest place of all. But Vasquez, the guardian of the sacred light, has not reckoned with the vicious, desperate Kongre gang, who murder his two friends and force him out into the wilderness. Alone, without resources, can he foil their cruel plans?

The Wonderful Visit tells the story of an angel who finds himself unexpectedly marooned on Earth. Wells used John Ruskin's remark that an angel appearing on earth in Victorian England would be shot on sight as the inspiration for this tale of a celestial being who is completely out of place in human society. Ironically, the angel's first confidant and protector is a clergyman, who never recovers from the eventual and inevitable disappearance of the angel. Wells dwells in detail on the contrast between the idealism of the celestial visitor and the discourtesy of his hosts.

In 1861 a struggling playwright from Nantes traveled to the wildest parts of Norway with two friends. The experience transformed him, opening his eyes to exotic adventures—and to a new mode of writing. The sole surviving chapter of his autobiographical work, completed at about the same time as he met his lifelong publisher and surely his most personal piece, brilliantly recounts his reasons for travelling and his preparations in a henceforth “suffocating” Paris. None of his subsequent masterpieces would have been possible without Verne’s Joyous Miseries.

Lawrence’s first novel tells the tale of a love triangle between Lettie Beardsall and her neighbors George Saxton, son of a farmer, and Leslie Tempest, the local mine owner's son. Lettie will marry Leslie but remain sexually attracted George. George also marries but falls victim to alcohol.

First Mate Shandon receives a mysterious letter asking him to construct a reinforced steamship in Liverpool. As he heads out for Melville Bay and the Arctic labyrinth, a crewman reveals himself to be John Hatteras, and his obsession, the North Pole. The captain is later abandoned by his crew and remains without resources at the coldest spot on earth. How can he find food and navigate the Polar Sea? And what will he find at the top of the world?

The Escaped Cock is Lawrence’s take on resurrection, the life-force, and sexuality. The man who has been crucified wakes up in the garden wounded and weakened. Disillusioned with his old companions and inspired by the zest for life of the escaped cock of the title, he decides to live anew. Journeying to the sea, he stumbles on a temple of Isis, where its priestess, who mistakes him for the lost Egyptian god Osiris, introduces him to the pleasures of the flesh.

Vita Sackville-West’s book length poem celebrates the landscapes and produce of the Weald of Kent. Divided into four parts—Winter, Spring, Summer, Autumn—it paints a vivid picture of the Kentish countryside across the year and the farming practices of the Kentish folk eking out a living on its unpredictable clayey soils. Published in 1926, the poem was a great success, winning the Hawthornden Prize for Literature and going through six print runs in three years.

D. H. Lawrence’s homage to his travels in Mexico and the American southwest. The first four essays are products of a short visit to Oaxaca in Mexico. The following three, which include Lawrence’s classic account of the Hopi snake dance, are set in New Mexico. In the last essay, Lawrence remembers Saint Catherine’s Day at the ranch in Taos from the vantage point of his new residence in Italy. All are written in an inimitable style which combines acute observation and sardonic humour with Lawrence’s often eccentric views on culture and philosophy.