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The fourth book in New York Times-bestselling Seanan McGuire's witty urban fantasy InCryptid series about a family of cryptozoologists who act as a buffer between humans and the magical creatures living in secret around us. "The only thing more fun than an October Daye book is an InCryptid book." —Charlaine Harris, #1 New York Times-bestselling author of Sookie Stackhouse series Endangered, adjective: Threatended with extinction or immidiate harm. Australia, noun: A good place to become endangered. Alexander Price has survived gorgons, basilisks, and his own family—no small feat, considering that his family includes two telepaths, a reanimated corpse, and a colony of talking, pantheistic mice. Still, he’s starting to feel like he’s got the hang of things…at least until his girlfriend, Shelby Tanner, shows up, asking pointed questions about werewolves and the state of his passport. From there, it’s just a hop, skip, and a jump to Australia, a continent filled with new challenges, new dangers, and yes, rival cryptozoologists who don’t like their “visiting expert” very much. Australia is a cryptozoologist’s dream, filled with unique species and unique challenges. Unfortunately, it’s also filled with Shelby’s family, who aren’t delighted by the length of her stay in America. And then there are the werewolves to consider: infected killing machines who would like nothing more than to claim the continent as their own. The continent which currently includes Alex. Survival is hard enough when you’re on familiar ground. Alex Price is very far from home, but there’s one thing he knows for sure: he’s not going down without a fight.
Arriving in Australia with his girlfriend Shelby Tanner to investigate infected werewolves who are determined to claim the continent as their own, cryptozoologist Alexander Price refuses to go down without a fight as he tries to survive in an unfamiliar land.
In this humorous look at today's culture's ongoing love affair with the "End Times," the author provides a handful of anecdotes, acknowledgments of the phenomenon in pop culture and insights that precede each chapter.
This volume brings together essays by specialists in different disciplines on the cultural expression of apocalypse, in particular in anglophone science fiction of the nineteenth and twentieth centuries. Approaching these works from historical, philosophical, linguistic and literary perspectives, the contributors examine the relationship between secular and spiritual apocalypse, connecting the fiction and films to their historical moment. Not surprisingly, war recurs throughout this material, as a critical turning-point, fulfilment of prophecy, or prelude to a new age. In particular the essays explore the issue of whether modern apocalypse is seen as an ending or a beginning, considered under its political, ethnic and gendered aspects. Among the writers covered are H. G. Wells, Olaf Stapledon and such contemporary figures as Michael Moorcock, J. G. Ballard and Storm Constantine.
This engaging and groundbreaking archaeological treatise mixed with cultural commentary argues that our future on Mars depends on our understanding of its remarkable past. Much to the surprise of scientists and researchers, the latest cosmic discoveries offer strong evidence that points to an extinct civilization on Mars. What happened to it? And what does this mean for us on Earth? With in-depth research and accessible prose, After the Martian Apocalypse explains how our own survival may depend on confronting the strange and ancient truths to be found on the Red Planet. Challenging orthodox notions of humanity’s role in space, this unputdownable book effortlessly proves that to truly understand our own world, we must first understand our unsettling and enigmatic planetary neighbor.
Australia has been a frequent choice of location for narratives about the end of the world in science fiction and speculative works, ranging from pre-colonial apocalyptic maps to key literary works from the last fifty years. This critical work explores the role of Australia in both apocalyptic literature and film. Works and genres covered include Nevil Shute's popular novel On the Beach, Mad Max, children's literature, Indigenous writing, and cyberpunk. The text examines ways in which apocalypse is used to undermine complacency, foretell environmental disasters, critique colonization, and to serve as a means of protest for minority groups. Australian apocalypse imagines Australia at the ends of the world, geographically and psychologically, but also proposes spaces of hope for the future.
Generations ago, angel Remiel chose to renounce heaven and live on Earth. He found a place among ordinary humans by converting himself into Boston P.I. Remy Chandler, but he can never tell anyone who he was or that he still has angelic powers. Remy can will himself invisible, speak and understand any foreign language (including any animal language), and hear the thoughts of others. All these secret powers come in handy for a private investigator, especially when the Angel of Death goes missing and he’s assigned to find him. As he gets deeper into the investigation, he realizes this is not a missing persons case but a conspiracy to destroy the human race and only Remy has the powers to stop the forces of evil.
Verity Price, who has been trained from birth as a cryptozoologist--a monster hunter--attempts to pursue a career in professional ballroom dance, but dangerous cryptids and an enemy operative keep getting in the way.
AN NPR BEST BOOK OF THE YEAR • An absorbing, deeply felt book about our anxious present tense—and coming to grips with the future, by the author of the award-winning To Be a Machine. “Deeply funny and life-affirming, with a warm, generous outlook even on the most challenging of subjects.” —Esquire We’re alive in a time of worst-case scenarios: The weather has gone uncanny. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What might it be like to live through the worst? And what on earth is anybody doing about it? Dublin-based writer Mark O’Connell is consumed by these questions—and, as the father of two young children, he finds them increasingly urgent. In Notes from an Apocalypse, he crosses the globe in pursuit of answers. He tours survival bunkers in South Dakota. He ventures to New Zealand, a favored retreat of billionaires banking on civilization’s collapse. He engages with would-be Mars colonists, preppers, right-wing conspiracists. And he bears witness to places, like Chernobyl, that the future has already visited—real-life portraits of the end of the world as we know it. What emerges is an absorbing, funny, and deeply felt book about our anxious present tense—and coming to grips with what’s ahead.
"For all of its current popularity, contemporary apocalyptic fiction-novels set during or after events that devastate the world as we know it-is part of a long tradition that includes the Biblical story of Noah, the epic of Gilgamesh, and the Works and Days of the ancient Greek poet Hesiod, as well as the vast array of modern examples. In this short, essayistic book, the author focuses on twentieth- and twenty-first-century fiction in which new forms of life emerge from catastrophe, how the survivors adapt to the altered conditions of existence, and the various ways in which the past asserts its claims on them-both the immediate past of the world that was lost, and the deep past of prehistory and imagination that returns with this loss. In Payne's view, "post-apocalyptic fiction is political theory in fictional form. Instead of producing arguments in favor of a particular form of life, it shows what it would be like to live that life." In a world in which there is no more capitalism and no more nation state, characters have to relearn basic survival skills and return to earlier forms of social life. They acquire new capabilities, which bring new satisfactions they could not have anticipated in the world that is gone. In the post-apocalyptic world, they disentangle themselves from old ways of thinking and their misconceptions of human happiness. In this way, Payne argues, post-apocalyptic fiction is the pastoral of our time. The individualism and small-scale social relations of post-apocalyptic fiction are not naïve, but instead the necessary ground for choosing the freedoms and capabilities readers would want to see preserved in any future collective that might emerge from them"--