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In the dark and gritty town of Los Angeles, one man stands between humans and... everything else. Cal McDonald, private detective with scotch for blood, investigates the cases that no one else will. Mummies—shedemons, frankenstein creations, and possessed cars. Collects Criminal Macabre: A Cal McDonald Mystery #1#5, "A Letter from B.S." from the Dark Horse comic Drawing on Your Nightmares, Love Me Tenderloin, Last Train to Deadsville #1#4, Criminal Macabre: Supernatural Freak Machine #1#5, Hairball, and the prose Savage Membrane. * From the creator of 30 Days of Night.
In 2003 Steve Niles, creator of the 30 Days of Night comics series, launched a series of occult detective stories featuring the monstrously hard-boiled Cal McDonald. A pill-popping alcoholic reprobate, Cal is the only line of defense between Los Angeles and a growing horde of zombies, vampires, possessed muscle cars, mad scientists, werewolves, and much more weirdness! * I literally screamed HOLY $#@% when I put this book down. It is that good... Cal McDonald is truly one of the coolest characters in comics." —Ain't It Cool News"
A masterwork from two horror comics legends in a deluxe oversized edition! From the writer who created 30 Days of Night and the artist who created Swamp Thing comes a horror graphic novel like no other! Stosh Bludowski is a killer, born with the capacity for no apparent human emotion other than rage. Killing comes easy for Blud, and he makes a good living doing what's easy--until the day he meets two jobs in an alley who just won't die, and a grotesque mystery unfolds right in front of him. Soon, the remorseless killer is confronted by a reality he could never imagine, and he will be invited to make a decision once and for all . . . is he human, or is he Other? Collects City of Others #1-4
Supernatural private eye Cal McDonald thinks he's seen it all, at least until a couple of rampaging rednecks bust through his door hootin' about demonic possessions. Can Cal and his living-dead partner Mo'Lock save an entire town from the nastiest spirit this side of the river Styx?
Ghosts and other supernatural phenomena are widely represented throughout modern culture. They can be found in any number of entertainment, commercial, and other contexts, but popular media or commodified representations of ghosts can be quite different from the beliefs people hold about them, based on tradition or direct experience. Personal belief and cultural tradition on the one hand, and popular and commercial representation on the other, nevertheless continually feed each other. They frequently share space in how people think about the supernatural. In Haunting Experiences, three well-known folklorists seek to broaden the discussion of ghost lore by examining it from a variety of angles in various modern contexts. Diane E. Goldstein, Sylvia Ann Grider, and Jeannie Banks Thomas take ghosts seriously, as they draw on contemporary scholarship that emphasizes both the basis of belief in experience (rather than mere fantasy) and the usefulness of ghost stories. They look closely at the narrative role of such lore in matters such as socialization and gender. And they unravel the complex mix of mass media, commodification, and popular culture that today puts old spirits into new contexts.
Laurie Kirszner and Stephen Mandell, authors with nearly thirty years of experience teaching college writing, know what works in the classroom and have a knack for picking just the right readings. In Patterns for College Writing, they provide students with exemplary rhetorical models and instructors with class-tested selections that balance classic and contemporary essays. Along with more examples of student writing than any other reader, Patterns has the most comprehensive coverage of active reading, research, and the writing process, with a five-chapter mini-rhetoric; the clearest explanations of the patterns of development; and the most thorough apparatus of any rhetorical reader, all reasons why Patterns for College Writing is the best-selling reader in the country. And the new edition includes exciting new readings and expanded coverage of critical reading, working with sources, and research. It is now available as an interactive Bedford e-book and in a variety of other e-book formats that can be downloaded to a computer, tablet, or e-reader. Read the preface.
Werewolves stealing. Vampires mugging. Ghouls beaten in their own sewers. A man murdered by monsters - with a letter opener. The connection? Private investigator Cal McDonald is damned (literally) if he knows.
This dynamic masterpiece is ready to celebrate its fortieth anniversary with second editions of the complete Grendel saga! Grendel Omnibus Volume 1 begins the entire epic series and chronicles the complete Hunter Rose storyline. This collection features millionaire Hunter Rose and his alter ego, the criminal mastermind Grendel! This collection features the very first Hunter Rose story, a complete Hunter Rose adventure by Matt Wagner, and vignettes and short stories from that key Grendel era by contributing storytellers Tim Sale, Guy Davis, Stan Sakai, Mike Allred, Darick Robertson, Michael Avon Oeming, Jill Thompson, the Pander Brothers, Duncan Fegredo, and many more! This collection reprints Grendel: Devil by the Deed; the short story collections Grendel: Black, White, & Red and Grendel: Red, White, & Black, and Grendel: Behold the Devil.
Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive—no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world. Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting—and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions. Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous—no mean achievements for any body of art.