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For readers of Brent Weeks, Joe Abercrombie, Peter V. Brett, and Scott Lynch comes the first book in a fantastic, hilarious new sword-and-sorcery series that puts a clever new twist on the golden age of epic fantasy. Robbing tombs for fun and profit might not be a stable career, but Egil and Nix aren’t in it for the long-term prospects. Egil is the hammer-wielding warrior-priest of a discredited god. Nix is a roguish thief with just enough knowledge of magic to conjure up trouble. Together, they seek riches and renown, yet often find themselves enlisted in lost causes—generally against their will. So why should their big score be any different? The trouble starts when Nix and Egil kill the demonic guardian of a long-lost crypt, nullifying an ancient pact made by the ancestors of an obscenely powerful wizard. Now the wizard will stop at nothing to keep that power from slipping away, even if it means freeing a rapacious beast from its centuries-old prison. And who better than Egil and Nix—the ones responsible for his current predicament—to perform this thankless task? Praise for The Hammer and the Blade and Paul S. Kemp “A gripping tale [with] the feeling of a classic Dungeons & Dragons campaign.”—Publishers Weekly “Most heroes work up to killing demons. Egil and Nix start there and pick up the pace.”—Elaine Cunningham, author of the Thorn Trilogy “Kemp delivers sword and sorcery at its rollicking best, after the fashion of Fritz Leiber’s Fafhrd and the Gray Mouser.”—Library Journal
Iconoclasm is not a barbaric act which takes place somewhere else but is instead a central strand of Anglo-American modernity. Our horror at the destruction of art derives in part from the fact that we did, and still do, that. This is most obviously true of England's iconoclastic century between 1538 and 1643, which stands at the core of this book.
When we think of breaking images, we assume that it happens somewhere else. We also tend to think of iconoclasts as barbaric. Iconoclasts are people like the Taliban, who blew up Buddhist statues in 2001. We tend, that is, to look with horror on iconoclasm. This book argues instead that iconoclasm is a central strand of Anglo-American modernity. Our horror at the destruction of art derives in part from the fact that we too did, and still do, that. This is most obviously true of England's iconoclastic century between 1538 and 1643. That century of legislated early modern image breaking, exceptional in Europe for its jurisdictional extension and duration, stands at the core of this book. That's when written texts, especially poems, rather than visual images became our living monuments. Surely, though, the story of image breaking stops in the eighteenth century, with its enlightened cultivation of the visual arts and the art market. Not so, argues Under the Hammer: once started, iconoclasm is difficult to stop. It ripples through cultures, into the psyche, and it ripples through history. Museums may have protected images from the iconoclast's hammer, but also subject images to metaphorical iconoclasm. Aesthetics may have drawn a protective circle around the image, but as it did so, it also neutralised the image. The ripple effect also continues across the Atlantic, into puritan culture, into twentieth-century American Abstract Expressionism, and into the puritan temple of modern art. That, in fact, is where this book starts, with mid-twentieth-century abstract painting: the image has survived, just, but it bears the scars of a 500 year history.
A new stand-alone novel from the acclaimed author of The Company and The Folding Knife. Gignomai is the youngest brother in the current generation of met'Oc, a once-noble family exiled on an island for their role in a vaguely remembered civil war. On this island, a colony was founded seventy years ago. The plan was originally for the colonists to mine silver, but there turned out not to be any. Now, an uneasy peace exists on the island, between the colonists and the met'Oc. The met'Oc are tolerated, in spite of occasional cattle stealing raids, since they alone possess the weapons considered necessary protection against the island's savages. Gignomai is about to discover exactly what it is expected of him, and what it means to defy his family. He is the hammer who will provide the spark that will ignite a brutal and bloody war.
On July 24, 1964, chaos erupted in Rochester, New York. Strike the Hammer examines the unrest—rebellion by the city's Black community, rampant police brutality—that would radically change the trajectory of the Civil Rights movement. After overcoming a violent response by State Police, the fight for justice, in an upstate town rooted in black power movements, was reborn. That resurgence owed much to years of organizing and resistance in the community. Laura Warren Hill examines Rochester's long Civil Rights history and, drawing extensively on oral accounts of the northern, urban community, offers rich and detailed stories of the area's protest tradition. Augmenting oral testimonies with records from the NAACP, SCLC, and the local FIGHT, Strike the Hammer paints a compelling picture of the foundations for the movement. Now, especially, this story of struggle for justice and resistance to inequality resonates. Hill leads us to consider the social, political, and economic environment more than fifty years ago and how that founding generation of activists left its mark on present-day Rochester.
A classic Swedish novel about love, faith and spiritual renewal told in the form of a mystery novel.
"Photographed across four years and four continents, 'The Canary and The Hammer' details our reverence for gold and its role in humanity's ruthless pursuit of progress. Through a mix of image, text and archival material, the third book by British artist Lisa Barnard provides insight into the troubled history of gold and the complex ways it intersects with the global economy. Gold is ubiquitous in modern life; the mineral is concealed at the heart of much of the technology we use and is, most fundamentally, a potent symbol of value, beauty, purity, greed and political power. The Canary and The Hammer strives to connect these disparate stories -- from the mania of the gold rush and the brutal world of modern mining, to the sexual politics of the industry and gold's often dark but indispensable role at the heart of high-tech industry. Prompted by the financial crisis of 2008 and its stark reminder of the global west's determination to accumulate wealth, Barnard sets out to question gold's continued status as economic barometer amidst new intangible forms of technological high--finance. By addressing this through photography, Barnard in turn raises the question of how her chosen medium can respond to such abstract events and concepts. The result is an ambitious project, one sketching a personal journey in which she ultimately tackles the complexity of material representation in these fragmented and troubling times."-- Publisher's website
After escaping the clutches of a Glasgow drug lord nicknamed 'The Widowmaker', the newly promoted Detective Constable Thoroughgood heads for Manchester. The northern powerhouse is home to two rival gangs: 'The Maine Men' and 'The Devils'. When a drug deal goes wrong and Thoroughgood fails to stop it, a full-scale turf war is ready to take over Manchester - a city split into red and blue halves. Seconded into an undercover Greater Manchester Police unit led by the legendary DCI Marty Ferguson, an exiled Glasgow cop with a messianic presence, Thoroughgood soon finds that the drugs war is not the only battle being fought in the city. 'The Hammer' takes Thoroughgood out of the character's typical Scottish stomping grounds, with 1990s Manchester and a nightmare at the Theatre of Dreams forming the perfect backdrop for Mitchell's brand of gritty, high-octane crime writing.
In this New York Times bestselling “imperative how-to for creativity” (Nick Offerman), Adam Savage—star of Discovery Channel’s Mythbusters—shares his golden rules of creativity, from finding inspiration to following through and successfully making your idea a reality. Every Tool’s a Hammer is a chronicle of my life as a maker. It’s an exploration of making, but it’s also a permission slip of sorts from me to you. Permission to grab hold of the things you’re interested in, that fascinate you, and to dive deeper into them to see where they lead you. Through stories from forty-plus years of making and molding, building and break­ing, along with the lessons I learned along the way, this book is meant to be a toolbox of problem solving, complete with a shop’s worth of notes on the tools, techniques, and materials that I use most often. Things like: In Every Tool There Is a Hammer—don’t wait until everything is perfect to begin a project, and if you don’t have the exact right tool for a task, just use whatever’s handy; Increase Your Loose Tolerance—making is messy and filled with screwups, but that’s okay, as creativity is a path with twists and turns and not a straight line to be found; Use More Cooling Fluid—it prolongs the life of blades and bits, and it prevents tool failure, but beyond that it’s a reminder to slow down and reduce the fric­tion in your work and relationships; Screw Before You Glue—mechanical fasteners allow you to change and modify a project while glue is forever but sometimes you just need the right glue, so I dig into which ones will do the job with the least harm and best effects. This toolbox also includes lessons from many other incredible makers and creators, including: Jamie Hyneman, Nick Offerman, Pixar director Andrew Stanton, Oscar-winner Guillermo del Toro, artist Tom Sachs, and chef Traci Des Jardins. And if everything goes well, we will hopefully save you a few mistakes (and maybe fingers) as well as help you turn your curiosities into creations. I hope this book serves as “creative rocket fuel” (Ed Helms) to build, make, invent, explore, and—most of all—enjoy the thrills of being a creator.
The Malleus Maleficarum, first published in 1486–7, is the standard medieval text on witchcraft and it remained in print throughout the early modern period. Its descriptions of the evil acts of witches and the ways to exterminate them continue to contribute to our knowledge of early modern law, religion and society. Mackay's highly acclaimed translation, based on his extensive research and detailed analysis of the Latin text, is the only complete English version available, and the most reliable. Now available in a single volume, this key text is at last accessible to students and scholars of medieval history and literature. With detailed explanatory notes and a guide to further reading, this volume offers a unique insight into the fifteenth-century mind and its sense of sin, punishment and retribution.