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Having escaped from the clutches of the sinister Sect of Annubis, Angel, an Ukrainian immigrant trafficked illegally into the UK is now lost and alone on the unknown streets of London. Chosen by the Sect as vessel for the soul of an ancient Egyptian High Priestess called Nebetah, Angel has begun to transform into a mummy. Angel now finds herself pursued by, not only, agents of the Sect of Annubis, but also their sworn enemies, The Pyramid Club and Ammit, a huge demonic hell-hound from the Ancient Egyptian Land of the Dead. Ammit's task it is to bring Nebetah back to the Land of the Dead. With time running out, Angel must find sanctuary before her soul is devoured by Nebetah...
For 2000 years the Sect of Anubis have prolonged their life spans through human sacrifice and the enslavement of an Egyptian High Priestess cursed to walk the afterlife for all eternity. On one night every 30 years the Sect must offer up a human vessel to house the spirit of Nebetah so that they can kill her and drink her blood, thus granting them immortality. But this year they have chosen the wrong vessel and she¡¯s not going willingly¡­
“An interesting new take on the story in the expert hands of a great writer.” – Trash Mutant Through the ritual of Palimpsest, the sinister Sect of Anubis have gained immortality by drinking the blood of a human sacrifice forcefully chosen to host the spirit of an ancient Egyptian High Priestess. Now the latest host, Angel Kostenko, is lost, on the run, and fighting for her very life and soul against the Sect and a giant demon hound called Ammit. Heralding the rebirth of a Hammer legend and written by fan-favorite Peter Milligan (X-static, X-Force, Shade, the Changing Man, Hellblazer, and Batman). This album collects the Mummy: Palimpsest five-issue mini-series and includes a cover gallery and series of articles about the original Hammer Mummy films written by official Hammer historian Marcus Hearn.
She has faced countless vampires including Dracula himself. She has defeated monsters that defy the imagination including Frankenstein, the Mothman, and the Four Horsemen of the Apocalypse… but now she’s about to face her greatest challenge yet. This time Liesel Van Helsing will face a powerful foe from ancient Egypt that has returned for vengeance... the Mummy of Amun-Ra.
Reissued here together are three well-illustrated excavation reports, first published 1911-14, relating to important archaeological sites in Egypt.
An influential family’s weekend party is the stage for murder in this alternative history trilogy opener set in a post-WWII England where the Nazis won. Eight years have passed since the upper-crust “Farthing Set” overthrew Winston Churchill and led Britain into a separate peace with Hitler. Now those families have gathered for a weekend retreat. Among them is estranged scion Lucy Kahn, who can’t understand why she and her husband, David, were so enthusiastically invited. But all becomes clear when the eminent Sir James Thirkie is found murdered—with a yellow Star of David pinned to his chest. Lucy realizes that her Jewish husband is about to be framed for the crime, an outcome that would be altogether too politically convenient, given the machinations underway in Parliament in the coming week. The Farthing Set are determined to pass laws further restricting the right to vote, and a new outcry against Jews and foreigners would suit them fine. But whoever’s behind the murder and the frame-up didn’t count on the principal investigator from Scotland Yard being so prone to look beyond the obvious—or his being a man with his own private reasons for sympathizing with outcasts and underdogs . . . Praise for Farthing “If le Carré scares you, try Jo Walton. Of course her brilliant story of a democracy selling itself out to fascism sixty years ago is just a mystery, just a thriller, just a fantasy—of course we know nothing like that could happen now. Don’t we?” —Ursula K. Le Guin “Walton . . . crosses genres without missing a beat with this stunningly powerful alternative history set in 1949. . . . While the whodunit plot is compelling, it’s the convincing portrait of a country’s incremental slide into fascism that makes this novel a standout. Mainstream readers should be enthralled as well.” —Publishers Weekly (starred review)
An account of the portraits from the Roman cemetery at Hawara, and brief details of discoveries at Memphis.
Facsimile reissue of Anthea Page’s 1983 catalog of 82 ostraca held in the Petrie Collection, London. Ostraca are flakes of limestone or broken sherds of pottery used essentially as 'notepads' for private letters; laundry lists; records of purchases; roughly inscribed images of people, birds, and animals; and copies of literary works. In Ancient Egypt they reveal the artist-craftsman at practice, leisure and play. Apprentices, for instance, copied scenes to improve techniques; artists drew pictures to amuse, perhaps with satirical images and caricatures, or made measured studies for finished works. A wide range of trivial examples survive, together with more serious devotional, votive and dedicatory pieces.
Victorian Alchemy explores nineteenth-century conceptions of ancient Egypt as this extant civilisation was being ‘rediscovered’ in the modern world. With its material remnants somewhat paradoxically symbolic of both antiquity and modernity (in the very currentness of Egyptological excavations), ancient Egypt was at once evocative of ancient magical power and of cutting-edge science, a tension that might be productively conceived of as ‘alchemical’. Allusions to ancient Egypt simultaneously lent an air of legitimacy to depictions of the supernatural while projecting a sense of enchantment onto representations of cutting-edge science. Examining literature and other cultural forms including art, photography and early film, Eleanor Dobson traces the myriad ways in which magic and science were perceived as entwined, and ancient Egypt evoked in parallel with various fields of study, from imaging technologies and astronomy, to investigations into the electromagnetic spectrum and the human mind itself. In so doing, counter to linear narratives of nineteenth-century progress, and demonstrating how ancient Egypt was more than a mere setting for Orientalist fantasies or nightmares, the book establishes how conceptions of modernity were inextricably bound up in the contemporary reception of the ancient world, and suggests how such ideas that took root and flourished in the Victorian era persist to this day.