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In the third mysterious tale of Eerie-on-Sea, it’s almost Ghastly Night, and the Shadowghast—an ancient spirit in a lantern—lurks in wait for the power to enslave the town. In this third adventure, shipwrecked orphan Herbert Lemon, Lost-and-Founder at the Grand Nautilus Hotel, must square off with a creature of town lore as he confronts a shadow from his past. While other towns celebrate Halloween, in Eerie-on-Sea it’s Ghastly Night, and a grim spirit in a lantern awaits its moment. Legend has it that if people fail to light manglewick candles on Ghastly Night, and if no showman conjures shadow puppets on the pier as an offering, the insulted Shadowghast will seize and devour the shadows of the living. This year, a professional theater troupe has been summoned, including a raven-haired magician named Caliastra with startling news of Herbie’s origins. No sooner have the players checked into the hotel than townspeople start vanishing into thin air, including the guardian of Herbie’s best friend, Violet Parma. It’s up to Herbie and Violet to separate truth from sleight of hand and solve the mystery of the Shadowghast lantern before darkness swallows them all.
NEW YORK TIMES BESTSELLER Loop me in, odd one. The words, spoken in the deep of night by a sleeping child, chill the young man watching over her. For this was a favorite phrase of Stormy Llewellyn, his lost love. In the haunted halls of the isolated monastery where he had sought peace, Odd Thomas is stalking spirits of an infinitely darker nature. As he steadfastly journeys toward his mysterious destiny, Odd Thomas has established himself as one of the most beloved and unique fictional heroes of our time. Now, wielding all the power and magic of a master storyteller at the pinnacle of his craft, Dean Koontz follows Odd into a singular new world where he hopes to make a fresh beginning—but where he will meet an adversary as old and inexorable as time itself.
"Often denounced as nihilistic and even degenerate, film noir seems an unlikely antidote to the despair of contemporary popular culture. But at the heart of these dark films is a spiritual quest that is profoundly hopeful. In a fascinating re-evaluation of "American noir," Thomas Hibbs argues that these powerful tales of sin and redemption embody religious themes that are essential for cultural renewal." "Starting with early noir classics such as Double Indemnity and The Maltese Falcon, Hibbs reveals their surprising connection with contemporary quest films such as The Passion, The Sixth Sense, and Spider-Man. Despite its roots in the heyday of Hollywood Marxism, noir even displays a distinctly conservative bent - redemption is personal, not political, and scientific rationalism fails to deliver on its sunny promises." "Arts of Darkness explores not only the shadowy works of the 1940s and 1950s but also recent films in which the dark themes of noir converge with the quest for redemption. Hibbs dubs these diverse but related works "American noir," a term that encompasses Chinatown and Taxi Driver, The Matrix and The Terminator, American Beauty and Thelma and Louise. Hibbs insists that these tragic and gritty films stand among the most powerful religious narratives of our time."--BOOK JACKET.
Thomas the Tank Engine and his friends have exciting adventures every day of the week, shown in a series of pop-up scenes.