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A demonic cult. A secret of terrifying power. A desperate race to find it first. “They’ll be able to make… golems that haven’t been seen… since the Thrall Masters walked the earth…” Tevlar’s corpse warned. A hundred and fifty years have passed since the Thrall Masters nearly destroyed the land of Thac. Now the secret to their terrifying power has been found and the Serpent Cult is after it. To stop them, Glolindir and friends must seek out an ancient monolith hidden somewhere in the depths of the mysterious Darkwoods. Yet first they must deal with accusations of treason. They have been branded traitors and must prove themselves in trial by combat or be banished forever. From the tournament fields of Ravenford Keep to the depths of the Darkwoods, the young heroes face deadly traps, fierce monsters, and cunning demons. Can they reach the Dark Monolith before the cult? And if so, what terrifying magical force awaits them there? Enter a world of magic and adventure in this fun tale of heroes in the making. Perfect for fans of Lord of the Rings and Dungeons & Dragons.
A professional spy for a mysterious Library which harvests fiction from different realities, Irene faces a series of assassination attempts that threaten to destroy her and everything she has worked for. Irene is teaching her new assistant the fundamentals of a Librarian's job, and finding that training a young Fae is more difficult than she expected. But when they're the targets of kidnapping and assassination attempts, she decides that learning by doing is the only option they have left ... In order to protect themselves, Irene and her friends must do what they do best: search for information to defeat the overwhelming threat they face and identify their unseen enemy. To do that, Irene will have to delve deeper into her own history than she ever has before, face an ancient foe, and uncover secrets that will change her life and the course of the Library forever.
From the celebrated film critic and author of The Biographical Dictionary of Film--an essential work on the preeminent, indispensable movie directors and the ways in which their work has forged, and continues to forge, the landscape of modern film. Directors operate behind the scenes, managing actors, establishing a cohesive creative vision, at times literally guiding our eyes with the eye of the camera. But we are often so dazzled by the visions on-screen that it is easy to forget the individual who is off-screen orchestrating the entire production--to say nothing of their having marshaled a script, a studio, and other people's money. David Thomson, in his usual brilliantly insightful way, shines a light on the visionary directors who have shaped modern cinema and, through their work, studies the very nature of film direction. With his customary candor about his own delights and disappointments, Thomson analyzes both landmark works and forgotten films from classic directors such as Orson Welles, Alfred Hitchcock, Jean Renoir, and Jean-Luc Godard, as well as contemporary powerhouses such as Jane Campion, Spike Lee, and Quentin Tarantino. He shrewdly interrogates their professional legacies and influence in the industry, while simultaneously assessing the critical impact of an artist's personal life on his or her work. He explores the male directors' dominance of the past, and describes how diversity can change the landscape. Judicious, vivid, and witty, A Light in the Dark is yet another required Thomson text for every movie lover's shelf.
Like the paintings of Jan Vermeer and Edward Hopper, Hugh Hood’s short fiction looks hard at what some might call the surface of things. Like the finely wrought realism of those canvases, Hood’s super-realist style doesn’t just see—it sees into. While his early publications prompted his reputation as an originator of Canadian modernism, Hood’s work taken as a whole reveals a philosophy far older: that of the allegorist. Like Dante’s pilgrim, Hood’s narrator finds spiritual truths in recognizable forms, affirming again and again the imagination’s capacity for penetrating insight and the transcendental potential of art. As he wrote in 1971, “I have at all times endeavoured to look steadily at my subjects. I hope my gaze has helped to light them up.” With a foreword by John Metcalf, Light Shining Out of Darkness collects twenty-five of the best stories by this modern master of the form, whose sensibility set him apart from the writers of his generation and continues to distinguish his oeuvre as among the 20th century’s most enduring. Best understood as a suite of modern meditations, seemingly quotidian explorations of salvation, temptation, and damnation in an irreligious world, Hood balances insight into human failing with compassion for our shared condition.
Like John the Baptist, the author is "one crying out in the desert" of a transient world indifferent to its ultimate goal -- a world of rushing commuters, hypnotic gadgets, clamorous socials, political bickering, and spirit-deadening amusements -- a world where death pilots myriads down the fading stream of mortality, farther and farther from its true goal, the bright haven of peace where God-lovers laugh at death -- lying defeated on Calvary -- and forever raise gleaming goblets of Christ-love in the sun-smile of their loving Lord.
Hollywood’s global influence from the 1960s to the present age of terrorism. The team of Sarah and Ryan Eisley film Faulkner’s As I Lay Dying, then divorce, but stay in touch. Ryan directs studio pictures for Universal, takes up with a much younger actress, attends the Woodstock festival and turns countercultural in his Beverly Hills mansion. Inspired to film a documentary of the black civil rights, hippie and anti-Vietnam War movements, he encounters President Kennedy, Martin Luther King, Jr. and the Manson gang. Their son Davin goes to Vietnam as a medic and their daughter Karen leaves her husband and disappears with her three kids. Living apart from Ryan in San Francisco, Sarah goes back to graduate school and tries to hold their family together while earning a doctorate at Berkeley. She becomes a film critic, then moves to Portland and becomes a teacher in the Hollyworld of higher education. The story of the Eisley family is interwoven with major films, including Billy Budd, Dr. Strangelove, The Graduate, Woodstock, Easy Rider, 2001: A Space Odyssey, Close Encounters, Apocalypse Now, Reds, The Big Chill and The Player. The novel also exposes Communist propaganda movies such as Fail-Safe, The Way We Were, The Front and Coming Home. It deflates the show business Blacklist myth, satirizes political correctness and ridicules Marxist movie stars and professors. Third in trilogy including Holywood (2004) and Follywood (2005).
Arriving in New York City in the first decade of the twentieth century, six painters-Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle-faced a visual culture that depicted the urban man as a diseased body under assault. Ashcan artists countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular, political, and commercial cultures. They did so by repeatedly positioning white male bodies as having no cleverness, no moral authority, no style, and no particular charisma, crafting with consistency an unspectacular man. This was an attempt, both radical and deeply insidious, to make the white male body stand outside visual systems of knowledge, to resist the disciplining powers of commercial capitalism, and to simply be with no justification or rationale. Ashcan Art, Whiteness, and the Unspectacular Man maps how Ashcan artists reconfigured urban masculinity for national audiences and reimagined the possibility and privilege of the unremarkable white, male body thus shaping dialogues about modernity, gender, and race that shifted visual culture in the United States.
In this, the first book on English fantasy, Colin Manlove shows that for all its immense diversity, English fantasy can best be understood in terms of its strong national character, rather than as an international genre. Showing its development from Beowulf to Blake, the author describes English fantasy's modern growth through secondary world, metaphysical, emotive, comic, subversive, and children's fantasy. In them all England has led the world, with authors as different as Chaucer, Lewis Carroll, J. R. R. Tolkien, and Salman Rushdie.