Synposis
Little Doors confirms Paul Di Filippo's place as a writer whose talent is matched only by his range. Resisting neat classification, Di Filippo's fiction spans genres — from cyberpunk to alternative history to playful musings on the postmodern condition (whatever that may be). As whimsical as they are intelligent, Di Filippo's stories find strange characters in even stranger circumstances. But Di Filippo's writing is more than just a pyrotechnics show, and his stories offer profound, often biting insights.

An all-access pass to Di Filippo's whirlwind imagination, Little Doors makes clear why its author is one of the most respected science fiction writers around. The seventeen stories in this volume are a literary vaudeville peppered with sleazy professors, a cherubic Salvador Dali, over-the-hill mermaids, gender-swapping werewolves, and a Manhattan even stranger than our own. And what's a guy to do if he's born without a brain and wild animals conveniently decide to nest in his skull? Di Filippo has the answer for this and a myriad of other quandaries that are bit out of the ordinary.

A Kafka for the digital age, Di Filippo sees into the heart of our times with a vision and creativity that simply won't quit. William Gibson called The Steampunk Trilogy "the literary equivalent of Max Ernst's collages of nineteenth-century steel engravings." Little Doors is more like a liquified Dali dreamscape, painted with the confident brush strokes of one of the most imaginative writers around. It is a mature work by an author who, after years of being science fiction's best-kept secret, has fully come into his own.