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Curtis’ epic novel blends equal parts classic thriller and provocative spiritual speculation. Full of larger-than-life characters whose growth over the course of the novel interweave seamlessly with the plot, Farewell Atlantis is bold exploration of the human spirit that will intrigue philosophers and scientists alike. This highly acclaimed first novel is splendid entertainment and among the most compelling new literature to be found. Note: This foreword was created for promotional purposes only. Contributor: Nick Sagan.
Two-time Edgar Award winner Rupert Holmes–author of the critically acclaimed Where the Truth Lies and creator of the Tony Award—winning musical whodunit The Mystery of Edwin Drood–now fuses gripping suspense and evocative music in an innovative novel of intrigue set in 1940, during the very heart of the Big Band era. Jazz saxophonist and arranger Ray Sherwood, touring with the Jack Donovan Orchestra, is haunted by personal tragedy. But when a beautiful and talented Berkeley student named Gail Prentice seeks his help in orchestrating a highly original composition called Swing Around the Sun, which is slated to premiere at the Golden Gate Exposition on the newly created Treasure Island in San Francisco Bay, Ray finds himself powerfully drawn to the beguiling coed. Within moments of first setting eyes on her, Ray also witnesses a horrifying sight: a young woman plunging to her death from the island’s emblematic Tower of the Sun. As the captivated Ray learns more about Gail and her unusual family, he finds himself trapped in a tightening coil of spiraling secrets– some personally devastating, all dangerous and deadly– in which from moment to moment nothing is certain, including Gail’s intentions toward him and her connection to the dead woman who made such a grisly impact upon the stunning island. As events speed toward a shocking climax, Ray must use all his physical daring and improvisational skills to unlock an ominous puzzle whose sinister implications stretch far beyond anything he could imagine.
We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays. As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science.
Tom wakes after an accident to find he has mislaid a load of years, his body and a whole planet. In search of his lost love, he becomes the ultimate commuter, moving into a new universe, where the Second World War had gone on rather too long, and Scotland gained independence. If that wasn't bad enough, another faction is determined to collapse the whole of creation. A liberation force from the US, spoiling to try out some new kit, joins the fray, and goes for total annihilation. It's Tom's job to save the lot, aided only by a bunch of slaves and a bit of alien technology. One of the problems with hopping between universes is that there is a faint chance you can meet yourself. That can't happen of course, and so it does, exactly at the point where the whole fabric of space and time breaks down.
Our nation is politically, ideologically, and socially polarized to the point of breaking; confusion dominates every layer of our culture. The church in America is “a letter from Christ” (2 Cor. 3:3), written to our politically cynical, socially insecure, and spiritually skeptical culture. Before the Gospel may become clear in our “post-everything” culture, we must make truth real in our hearts. The purpose of this book is to (1) redefine dualistic frames in the minds of contemporary Christians that separate the “saved” from the advent of God’s healing reign on Earth; (2) relate Christian compassion to a post-secular America; and (3) propose a redefinition of the Christian controlling narrative. Such a revised narrative will light the way for our “restless hearts” so that we, as a nation, may return from exile to restoration and rejoice in the sovereign reign of God in Christ.
Apocalyptic Projections have been pondered since Biblical times. Theories abounded in an attempt to prepare for calamity and plan for the future. Worldwide concern regarding a twenty-first century apocalypse, related to the 2012 Mayan Apocalyptic prediction, sparked renewed interest. Even though the concept of apocalypse evokes images of total oblivion, threads of possibility and redemption offer a potential fabric of hope. The majority of the papers included in Apocalyptic Projections were p ...
Set in the summer of 1979 at the height of the movement to free Soviet Jewry, Farewell, Mama Odessa is an autobiographical novel whose intertwined storylines follow a variety of people—dissidents, victims of ethnic discrimination, and black marketeers among them—as they bid farewell to their beloved hometown of Odessa, Ukraine, and make their way to the West. At the book’s center is Boris, a young writer thwarted by state censorship and antisemitism. With an Angora kitten for his companion and together with other émigrés, he puts the old country in his rear-view mirror and sets out on a journey that will take him to Bratislava, Vienna, Rome, and New York on his way to Los Angeles. Will Boris be able to rekindle his creative passion and inspiration in the West? Will other Jewish émigrés fit into the new society, so much different than the one they left behind? With humor and compassion, Farewell, Mama Odessa describes the émigrés’ attempts at adjustment to the free world.
The American family has long been at the centre of the typical Hollywood narrative. But the depiction of the nuclear family within contemporary mainstream US cinema has not yet been closely studied. Home Movies addresses this oversight by assessing recent cinematic representations of the family in terms of cultural politics and representations of gender, sexuality, race and class. Focusing on a diverse range of popular films - from Meet the Parents to The Incredibles - Claire Jenkins analyses the father-daughter relationship within sequels and series; Meryl Streep's embodiment of the mother; the superhero family and extraordinary manifestations of the ordinary family; disaster films which depict the president as father; 'mom-coms' and Hollywood's representations of the non-traditional family. She combines film studies, gender studies and family history to demonstrate the complexities of Hollywood's family values.
Andre Norton and Sherwood Smith have collaborated on Solar Queen and Time Traders novels, but never before have they created as rousing an adventure as awaits Ross Murdock, Gordon Ashe, and the rest of the Time Patrol in Ancient Atlantis. In Earth's future, when time travel has become possible, the Time Patrol is the top secret government agency that protects Earth's past, so that our history will not become corrupted by invaders from either our future or from other worlds. For many years, Murdock, Ashe, and other members of the Time Patrol have contended with threats to our time continuum, none more deadly than the alien Baldies, who hate other high-tech civilizations and want to destroy Earth. Evidence of time travel has been found in ruins dating to the ancient world . . . in the legendary realm of Atlantis. So Murdock, Ashe, Eveleen Riordan, and other Time Patrollers deck themselves out as foreign traders to discover whether something is amiss in Atlantis. They find that the Baldies are there, as evidenced by sophisticated, high-tech equipment, whose purpose it is impossible to fathom. As they try to derail the Baldies' plot, the Time Patrollers realize that time is running out on their mission, when Atlantis is shaken by tremors that presage a cataclysm that may be the disaster that sank the fabulous island state. But they must be sure they act to preserve, not destroy, history--and if they're wrong, it'll be too late . . . for them and for Earth's future.