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The never-before-told true account of the serial killers who terrorized Nashville's music scene for decades--and the cold-case Murder Squad determined to bring an end to their sadistic sprees. Nashville--a haven for aspiring musicians and a magnet for country-music fans. By the time Pat Postiglione arrived there in 1980, it was also the scene of an unsolved series of vicious sex slayings that served as a harbinger of worse to come. As Postiglione was promoted from street-beat Metro cop to detective sergeant heading Music City's elite cold-case Murder Squad, some of America's most bizarre, elusive, and savage serial killers were calling Nashville home. And during the next two decades, the body count climbed. From Vanderbilt University to dive bars and out-of-the-way motels, Postiglione followed the bloody tracks of these ever-escalating crimes--each enacted by a different psychopath with the same intent: to murder without motive or remorse. But of all the investigations, of all the monsters Postiglione chased, few were as chilling, or as game changing, as the Rest Stop Killer: a homicidal trucker who turned the interstates into his trolling ground. Next stop, Nashville. But Postiglione was waiting.
Don’t Miss Poorly Drawn Lines on Cake, airing on FX and streaming on FX on Hulu! From New York Times bestselling author and artist Reza Farazmand, his first graphic novel about a young monster who moves to a big city. City Monster is set in a world of supernatural creatures and follows a young monster who moves to the city. As he struggles to figure out his future, his new life is interrupted by questions about his mysterious roommate—a ghost who can’t remember the past. Joined by their neighbor, a vampire named Kim, they explore the city, meeting a series of strange and spooky characters and looking for answers about life, memories, and where to get a good beer. With Reza's signature style, and familiar snark, this graphic novel is equal parts irreverent and insightful, the perfect vehicle for conveying the utter absurdity of our bizarre and confusing times.
THIS IS NOT A DRILL. Originally posted on Reddit's r/nosleep and largely unedited from the online series, Eli's rules and stories are now here to stay as a novel, with a few extra tidbits thrown in! Eli always thought a list of rules to survive some insane situation like a zombie apocalypse was a bit ridiculous. How would *rules* be enough to save you in a hellscape like that? ...But then his world went to shit, and he realized a list of rules might just save his life. Twelve rules, to be exact. Twelve rules to deal with all the types of monsters that have overrun his city - which has been completely cut off from the outside world by a massive, impenetrable dome. Armed with the rules, his best cat friend Mr. Bailey, and a penchant for naming the monsters after people he hated in high school (there were a lot, okay), every day is a fight to stay alive in monster city. But maybe not all hope is lost. Sure, Eli saw his entire family die, and sure, there may be no way out...but maybe there is. And maybe he's not the last human left (he hopes not, because if *he's* the best humanity has to offer, we're in trouble). And as he continues to survive and delve deeper, it turns out there may be more to the dome and the monsters than he ever imagined. A lot more. Which means his rules are more important than ever, and so are his stories.So hug your family (for Eli, because he can't, and really wishes he still could), relax, and get ready. Because Eli (and Mr. Bailey) present to you: ELI'S GUIDE TO STAYING ALIVE IN MONSTER CITY *Suggested for ages 16+ due to language and violence*
Monsters hide all over New York City and young readers are encouraged to find them.
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Jacques Ellul, a former member of a Law Faculty at the University of Bordeaux, was recognized as a brilliant and penetrating commentator on the relationship between theology and sociology. In the Meaning of the City he presents what he finds in the Bible--a sophisticated, coherent theology of the city fully applicable to today's urbanized society. Ellul believes that the city symbolizes the supreme work of man--and, as such, represents man's ultimate rejection of God. Therefore it is the city, where lies man's rebellious heart, that must be reformed. The author stresses the fact that the Bible does not find man's fulfillment in a return to an idyllic Eden, but points rather to a life of communion with the Savior in the city transfigured. The Meaning of the City, says John Wilkinson in his introductory essay to the book, is the theological counterpoint to Ellul's Technological Society, a work that analyzed the phenomenon of the autonomous and totally manipulative post-industrial world. Ellul takes issue with those who idealistically plan new urban environments for man, as though man alone can negate the inherent diabolism of the city. For Ellul, the history of the city from the times of Cain and Nimrod through to Babylon and Jerusalem reveals a tendency to destroy the human being for the sake of human works. Nevertheless, continuing the theme of the tension between two realities that characterizes all his works, Ellul sees God as electing the city as itself an instrument of grace for the believer. William Stringfellow describes The Meaning of the City as a book of startling significance, which should rank beside Reinhold Niebuhr's Moral Man and Immoral Society as a work of truly momentous potential. Douglass D. McFerran adds that it is a book worth serious consideration by anyone interested in the relationship between religious commitment and secular involvement. And John Wilkinson sums it up: There are very few convincingly religious analyses of the sociological phenomena of the present day. . . . Ellul's biblically based sociology is today furnishing the matter for a large and growing group of social protestants, particularly in the United States.
Consisting of anonymous e-mail messages sent by the author to an acclaimed visual artist over the course of a year, Permission is the record of an experiment: an attempt to forge a connection with a stranger through the writing of a book, and thus a search for fellowship in solitude, as well as a testimony to the isolating effects and creative possibilities of the digital age. With reveries touching upon the insipid landscape of post-Cold War Poland, the elongated shadows of the Holocaust, and the narrator's "safe passage" to America, Permission not only updates the "epistolary novel" for our time by embracing the permissiveness we associate with digital communication, it opens up a new literary frontier.
"Impressive, exhaustive, labyrinthine, and obsessive—The Anime Encyclopedia is an astonishing piece of work."—Neil Gaiman Over one thousand new entries . . . over four thousand updates . . . over one million words. . . This third edition of the landmark reference work has six additional years of information on Japanese animation, its practitioners and products, plus incisive thematic entries on anime history and culture. With credits, links, cross-references, and content advisories for parents and libraries. Jonathan Clements has been an editor of Manga Max and a contributing editor of Newtype USA. Helen McCarthy was founding editor of Anime UK and editor of Manga Mania.