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Shielded by his mother and sisters from his father’s obsessive construction of a haunted house attraction, young Noah considers an ultimate sacrifice when he chooses to acknowledge a monster that his family members have tried to ignore.
Originally published: Cosmology. 2nd ed. Cambridge: Cambridge University Press, 1960.
"If John Irving ever wrote a horror novel, it would be something like this. I loved it.” —Stephen King ONE OF THE BEST BOOKS OF THE YEAR: ESQUIRE • THE NERD DAILY • THE NEW YORK PUBLIC LIBRARY A GOODREADS CHOICE AWARDS FINALIST Monsters both figurative and very literal stalk the Turner family. The youngest child, Noah, narrates the family history: how in the late '60s, his bookish mother, Margaret, marries Lovecraft-lover Harry against her better judgment. The couple has two daughters--Sydney, born for the spotlight, and the brilliant but awkward Eunice, a natural writer and storyteller. But finances are tight, Margaret and Eunice are haunted by horrific dreams, and Harry starts acting strangely. He becomes obsessed with the construction of an elaborately crafted haunted house attraction, christened the Wandering Dark. The family tries to shield baby Noah from the house's faux horrors, but unbeknownst to them, he's being visited by a furry beast with glowing orange eyes--the same ghastly being glimpsed by both his mother and sister. However, unlike them, Noah decides to let the creature in. . . . As he approaches the conclusion of his family's tale, it becomes more and more apparent that there's only one way the story can end: with Noah making the ultimate sacrifice.
From the acclaimed author of A Cosmology of Monsters ("I loved it" —Stephen King) comes an epic contemporary fantasy, a mixture of The Magicians and It: a story of dark magic, terrible mistakes, and second chances. "You can never go home again," the saying goes—but Hal, Athena, and Erin have to. In high school, the three were students of the eccentric Professor Marsh, trained in a secret system of magic known as the Dissonance, which is built around harnessing negative emotions: alienation, anger, pain. Then, twenty years ago, something happened that shattered their coven, scattering them across the country, stuck in mundane lives, alone. But now, terrifying signs and portents (not to mention a pointed Facebook invite) have summoned them back to Clegg, Texas. There, their paths will collide with that of Owen, a closeted teenager from Alabama whose aborted cemetery seance with his crush summoned something far worse: a murderous entity whose desperate, driving purpose includes kidnapping Owen to serve as its Renfield. As Owen tries to outwit his new master, and Hal, Athena, and Erin reckon with how the choices they made as teens might connect to the apocalyptic event unfurling over the Lone Star State, shocking alliances form, old and new romances brew, and three unsuccessful adults and one frightened teen are all that stand between reality and oblivion. From one of the boldest, most brilliant voices in modern fantastical horror, The Dissonance is a thrilling and beautifully written story of magic and monsters, forgiveness and friendship.
From the acclaimed author of A Cosmology of Monsters ("I loved it" —Stephen King) comes an epic contemporary fantasy, a mixture of The Magicians and It: a story of dark magic, terrible mistakes, and second chances. "You can never go home again," the saying goes—but Hal, Athena, and Erin have to. In high school, the three were students of the eccentric Professor Marsh, trained in a secret system of magic known as the Dissonance, which is built around harnessing negative emotions: alienation, anger, pain. Then, twenty years ago, something happened that shattered their coven, scattering them across the country, stuck in mundane lives, alone. But now, terrifying signs and portents (not to mention a pointed Facebook invite) have summoned them back to Clegg, Texas. There, their paths will collide with that of Owen, a closeted teenager from Alabama whose aborted cemetery seance with his crush summoned something far worse: a murderous entity whose desperate, driving purpose includes kidnapping Owen to serve as its Renfield. As Owen tries to outwit his new master, and Hal, Athena, and Erin reckon with how the choices they made as teens might connect to the apocalyptic event unfurling over the Lone Star State, shocking alliances form, old and new romances brew, and three unsuccessful adults and one frightened teen are all that stand between reality and oblivion. From one of the boldest, most brilliant voices in modern fantastical horror, The Dissonance is a thrilling and beautifully written story of magic and monsters, forgiveness and friendship.
The astonishing science of black holes and their role in understanding the history and future of our universe. Black holes are the most extreme objects in the universe, and yet they are ubiquitous. Every massive star leaves behind a black hole when it dies, and every galaxy harbors a supermassive black hole at its center. Frighteningly enigmatic, these dark giants continue to astound even the scientists who spend their careers studying them. Which came first, the galaxy or its central black hole? What happens if you travel into one—instant death or something weirder? And, perhaps most important, how can we ever know anything for sure about black holes when they destroy information by their very nature? In Einstein’s Monsters, distinguished astronomer Chris Impey takes readers on an exploration of these and other questions at the cutting edge of astrophysics, as well as the history of black holes’ role in theoretical physics—from confirming Einstein’s equations for general relativity to testing string theory. He blends this history with a poignant account of the phenomena scientists have witnessed while observing black holes: stars swarming like bees around the center of our galaxy; black holes performing gravitational waltzes with visible stars; the cymbal clash of two black holes colliding, releasing ripples in space-time. Clear, compelling, and profound, Einstein’s Monsters reveals how our comprehension of black holes is intrinsically linked to how we make sense of the universe and our place within it. From the small questions to the big ones—from the tiniest particles to the nature of space-time itself—black holes might be the key to a deeper understanding of the cosmos.
"Empirical Wonder" focuses on the emergence of the fantastic in seventeenth- and eighteenth-century British culture. To do so, it preliminarily formulates an inclusive theory of the fantastic centering on nineteenth- and twentieth-century genres. The origins of such genres, this study argues, reside in the epistemological shift that attended the rise of empiricism, and their formal and historical identity becomes fully visible against the backdrop of pre-modern culture. While in pre-modern world-views no clear-cut distinction between the natural and the super- or the non-natural existed, the new epistemology entailed the emergence of boundaries between the empirical and the non-empirical, which determined, on the level of literary production, the opposition between the realistic and the non-realistic. Along with these boundaries, however, emerged the need to overcome them. In the seventeenth century, the religious supernatural and the existence of monsters were increasingly being questioned by modern science, and a variety of attempts were made to enact a mediation between what was perceived as unmistakably real and the problematic phenomena that were threatened by the empirical outlook: apparition narratives were used, for instance, to persuade skeptics of the presence of otherworldly beings, and travelogues often presented monsters as if they were empirical entities. Most of these attempts became soon incompatible with scientific culture, more and more normative, so the task of mediation was assumed by literature. Apparition narratives, originally conceived as factual texts, were progressively aestheticized; analogously, imaginary voyages grew different from fictionalized travelogues -- the success of Gulliver's Travels resetting the genre's main conventions and establishing a distinctly fictional model. Both apparition narratives and imaginary voyages emerged as self-consciously literary, that is, aesthetic, genres, bridging the gap between the empirical and the non-empirical. The origins of the fantastic ended when its mediatory task gave way to other concerns. Although on a residual level the mediation between the empirical and the non-empirical persisted, the fantastic's main preoccupations changed: in imaginary voyages its distinctive devices were used to dramatize or validate colonial practices, and Gothic fiction disconnected itself from the moral framework typical of apparition narratives.