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"Something is on the prowl in the forests and foothills outside the small Wyoming town of Potter's Field, something that mutilates but does not feed, that kills indiscriminately and without reason, at night, by moonlight. As the body count mounts, police chief Nathan Slaughter and the town's medical examiner try to find out who or what is doing the killing....Morrell embeds compelling human drama in a taut, hell-for-leather plot consisting of equal parts police procedural, medical detective story, biological horror story, disaster novel and Gothic thriller. Beneath its multi-genre surface, The Totem engages broader sociological issues....A thriller of rare ambition and achievement, as thought-provoking as it is exciting and scary." Washington Post Book World
China's runaway bestseller and winner of the inaugural Man Asian Literary Prize Published in China in 2004, Wolf Totem has broken all sales records, selling millions of copies (along with millions more on the black market). Part period epic, part fable for modern days, Wolf Totem depicts the dying culture of the Mongols--the ancestors of the Mongol hordes who at one time terrorized the world--and the parallel extinction of the animal they believe to be sacred: the fierce and otherworldly Mongolian wolf. Beautifully translated by Howard Goldblatt, the foremost translator of Chinese fiction, this extraordinary novel is finally available in English.
Garret Hunters earliest memory of Banister House was one of fear. Upstairs, the dead animal heads and the dark oil painting of the long gone Banister men bothered him. But downstairs, the wooden animal carvings that decorated the double doors of the formal dining room frightened him the most. Only in his adult life would he learn how much influence they had over him.
In his previous life, Chen Chun didn't raise a peach. When she woke up again, she found that she had become a good chicken woman who could lay eggs during the coming of age ceremony ... After completing her mission as an adult female slave, she had quietly fled in accordance with the wishes of others. He had originally wanted to grow some fields, raise a few little buns, and randomly remodel some of the tribes that had fallen behind. One, two, three ... Why did men come to this door?
Daria is a wife. A mother. A petty criminal. And a victim of abuse. After suffering years of mistreatment at the hands of her partner, Ray, she decides it’s time to make her escape. While Ray is on a boys’ trip to Las Vegas, she packs up her belongings and her son and leaves the USA for a fresh start in Canada. When she arrives, she uses her powers of manipulation and her feminine wiles to secure a job in the Canadian government. She also begins to dabble in moonshining, blackmail, and espionage for a shady Cuban crime group. For a while, it seems like she has everything under control—until one of her colleagues catches on to her tricks, seemingly hell-bent on putting a stop to her illegal activities. And then there’s that black, unmarked car following her around everywhere she goes . . . Will Daria be defeated by the forces acting against her? Or will she use her skills in deception to rise above?
Why has the mask been such an enduring generic motif in horror cinema? This book explores its transformative potential historically across myriad cultures, particularly in relation to its ritual and mythmaking capacities, and its intersection with power, ideology and identity. All of these factors have a direct impact on mask-centric horror cinema: meanings, values and rituals associated with masks evolve and are updated in horror cinema to reflect new contexts, rendering the mask a persistent, meaningful and dynamic aspect of the genre’s iconography. This study debates horror cinema’s durability as a site for the potency of the mask’s broader symbolic power to be constantly re-explored, re-imagined and re-invented as an object of cross-cultural and ritual significance that existed long before the moving image culture of cinema.
Silver RavenWolf dishes out tried-and-true Witch wisdom, covering the essentials of Witchcraft. She leads us to the next step in craft practice, focusing on intermediate-level magical practices, such as the proper mechanics of circle casting and 10 ways to raise power.
This newly translated volume of the Collected Works of Marie-Louise von Franz, one of the most renowned authorities on fairytales, presents a systematic and wide-ranging approach. Von Franz amplifies a variety of fairytale motifs to show that the magical realm is alien to the profane and mundane realm of ordinary daily life. She was one of Analytical Psychology’s most original thinkers and here she presents a lucid, concise exploration of the archetypal symbols found in fairytales. Fairytales, like myths, provide a cultural and societal backdrop that helps the human imagination narrate the meaning of life’s events. The remarkable similarities in fairytale motifs across different lands and cultures inspired many scholars to search for the original homeland of fairytales. While peregrinations of fairytale motifs occur, the common root of fairytales is more archetypal than geographic. A striking feature of fairytales is that a sense of space, time, and causality is absent. This situates them in a magical realm, a land of the soul, where the most interesting things happen in the center of places like Heaven, mountains, lakes, and wells. At the age of eighteen, Marie-Louise von Franz was invited to meet Carl Gustav Jung at Bolingen Tower. She immediately recognized that there exist two levels of reality, one outer and the other inner. Within months she had enrolled at the University of Zürich and began attending Jung’s lectures at the E.T.H. (Eidgenösiche Technische Hochshule or the Swiss Federal Institute of Technology). Less than a decade after meeting Jung, von Franz had completed her doctorate in classical philology and begun seeing her first analysands. She was a prolific writer, a dedicated teacher and lecturer, and was possessed of a “far-reaching and often non discriminating Eros that accepted everyone seeking help.” (Alfred Ribi, MD in Fountain of the Love of Wisdom, Chiron, 2006)