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THE PHENOMENAL EPIC OF GOOD AND EVIL LIKE IT’S NEVER BEEN EXPERIENCED BEFORE Thirty-five years ago, Terry Brooks brought to life a dazzling world in The Sword of Shannara. Nineteen more Shannara volumes would follow, making the series one of the most popular fantasy epics of all time. Now comes a fully annotated collector’s edition of the novel that started it all—featuring never-before-shared insights into the classic tale, an all-new introduction by the New York Times bestselling author, and replicas of the original sketches for some of the long-lost, black-and-white paintings by the Brothers Hildebrandt that decorated the original edition, and a replica of the original Hildebrandt central color plate on the back of the jacket.. Long ago, wars ravaged the world. In peaceful Shady Vale, half-elfin Shea Ohmsford knows little of such troubles. Then the giant, forbidding Allanon reveals that the supposedly dead Warlock Lord is plotting to destroy everything in his wake. The sole weapon against this Power of Darkness is the Sword of Shannara, which can be used only by a true heir of Shannara. On Shea, last of the bloodline, rests the hope of all the races. Soon a Skull Bearer, dread minion of a mighty evil, flies into the Vale, seeking to destroy Shea. To save his home, Shea must flee, drawing the Skull Bearer after him in menacing pursuit. Thus begins the enthralling Shannara epic, a spellbinding tale of adventure, magic, and myth. PRAISE FOR TERRY BROOKS “The Sword of Shannara is an unforgettable and wildly entertaining epic, animated by Terry Brooks’s cosmically generative imagination and storytelling joy. This was one of my favorite fictional worlds growing up, and I look forward to many return trips.”—Karen Russell, New York Times bestselling author of Swamplandia! “Terry Brooks has been my constant companion over a lifetime of exploring my beloved fantasy genre. I say with all honesty I would not be writing epic fantasy today if not for Shannara. If Tolkien is the grandfather of modern fantasy, Terry Brooks is its favorite uncle.”—Peter V. Brett, New York Times bestselling author of The Desert Spear “I can’t even begin to count how many of Terry Brooks’s books I’ve read (and reread) over the years. From Shannara to Landover, his work was a huge part of my childhood.”—Patrick Rothfuss, New York Times bestselling author of The Name of the Wind “Terry Brooks is a master of the craft and a trailblazer who established fantasy as a viable genre. Not only do I owe him for many hours of reading pleasure, I owe him my job. He is required reading.”—Brent Weeks, New York Times bestselling author of The Night Angel Trilogy “The Shannara books were among the first to really capture my imagination. I didn’t just enjoy reading the novels—the world became so real that I would spend hours creating Shannara fan-fiction in my mind. My daydreams and therefore my stories will always owe a debt to Terry Brooks.”—Brandon Mull, #1 New York Times bestselling author of the Beyonders and Fablehaven series
The Metal Monster is a fantasy novel by American writer Abraham Merritt. It was first serialized in Argosy All-Story Weekly in 1920 and features the return of Dr. Goodwin who first appeared in The Moon Pool. The epic adventure starts with a foreword where Merritt is assigned the duty to relay Dr. Walter T. Goodwin's incredible tale of his encounter in the Trans-Himalayan mountains to the world, to let everyone know the terrible fate Goodwin's group barely escaped and the possibility of other such monsters out there.
Dr. Goodwin is on a botanical expedition in the Himalayas. There he meets Dick Drake, the son of one of his old science acquaintances. They are witnesses of a strange aurora-like effect, but seemingly a deliberate one. As they go out to investigate, they meet Goodwin's old friends Martin and Ruth Ventnor, brother and sister scientists. The group is saved from death in the mountains by a magnificent woman they get to know as Norhala. They are led to a hidden valley occupied by what they name "The Metal Monster", a strange metal city occupied by the metal animate Things Norhala commands. This city is governed by what they call the Metal Emperor, assisted by the Keeper of the Cones.
Emerging from depths comes a series of papers dealing with one of the most significant creations that reflects on and critiques human existence. Both a warning and a demonstration, the monster as myth and metaphor provides an articulation of human imagination that toys with the permissible and impermissible. Monsters from zombies to cuddly cartoon characters, emerging from sewers, from pages of literature, propaganda posters, movies and heavy metal, all are covered in this challenging, scholarly collection. This volume the third in the series presents a marvellous collection of studies on the metaphor of the monster in literature, cinema, music, culture, philosophy, history and politics. Both historical reflection and concerns of our time are addressed with clarity and written in an accessible manner providing appeal for the scholar and lay reader alike. This eclectic collection will be of interest to academics and students working in a range of disciplines, such as cultural studies, film studies, political theory, philosophy and literature studies.
The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.
Well-known critic and novelist Brian Stableford here discusses the writers, editors, and publishers who helped create the modern genre of science fiction: Mary Wollstonecraft Shelley, Edgar Allan Poe, Camille Flammarion, Jules Verne, H. G. Wells, Hugo Gernsback, John W. Campbell Jr., Edward E. "Doc" Smith, Robert A. Heinlein, James Blish, Gregory Benford, and Ian Watson. Complete with bibliography and index.
Monsters have taken many forms across time and cultures, yet within these variations, monsters often evoke the same paradoxical response: disgust and desire. We simultaneously fear monsters and take pleasure in seeing them, and their role in human culture helps to explain this apparent contradiction. Monsters are created in order to delineate where the acceptable boundaries of action and emotion exist. However, while killing the monster allows us to cast out socially unacceptable desires, the prevalence of monsters in both history and fiction reveals humanity’s desire to see and experience the forbidden. We seek, write about, and display monsters as both a warning and wish fulfilment, and monsters, therefore, reveal that the line between desire and disgust is often thin. Looking across genres, subjects, and periods, this book examines what our conflicted reaction to the monster tells us about human culture.