IN THE NIGHTMARE FUTURE OF THE TWENTY-FIRST CENTURY ONLY THE STRONGEST SURVIVE Raised on the streets of a devastated twenty-first century torn by plagues, riots, and social decay, Aubry Knight was trained to be a lethal killing machine. Betrayed by those who created him, he survived a living hell to become a new kind of hero: strong enough to confront evil, yet caring enough to save a world. But now a fanatical religious leader plots to enslave the nation and tampers with the sanctity of life itself. To save America from tyranny, Aubry Knight must battle an inhuman army of super soldiers—and confront the terrors of his own past.
This interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century focuses on pertinent films of the pre- and post-World War II eras. The author explores the nature of expressionism, which is generally agreed to have ended with the advent of sound, and its persistence in the styles of such modern masters of film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.
Mallins Wood is home to the last surviving gorgon, and Col's mother, the gorgon's supernatural Companion, is determined to save it from encroaching development--even to the point of endangering Col and his best friend Connie, the most powerful Companion alive.
The Gorgon is a hideous creature, with snakes for hair and a deadly glare – and she's fighting Perseus to the death. Specially written for children growing in reading confidence, this thrilling retelling of the Greek myth is brought to life with full colour illustrations. Includes links to recommended websites to find out more about Ancient Greece. "Crack reading and make confident and enthusiastic readers with this fantastic reading programme." - Julia Eccleshare
A Council full of Ethereal Elders wants me dead. Yep, it's a regular Tuesday. When you kill a demon there are consequences. Centuries-old witch, tattoo artist, half-demon... none of those titles are going to save me this time. The only way I'm going to get out of my death sentence is to take down the biggest, baddest demon there is... My father. And I thought being burned at the stake was bad...
The thesis of A Gorgon’s mask: The Mother in Thomas Mann’s Fiction depends upon three psychoanalytic concepts: Freud’s early work on the relationship between the infant and its mother and on the psychology of artistic creation, Annie Reich’s analysis of the grotesque-comic sublimation, and Edmund Bergler’s analysis of writer’s block. Mann’s crisis of sexual anxiety in late adolescence is presented as the defining moment for his entire artistic life. In the throes of that crisis he included a sketch of a female as Gorgon in a book that would not escape his mother’s notice. But to defend himself from being overcome by the Gorgon-mother’s stare he employed the grotesque-comic sublimation, hiding the mother figure behind fictional characters physically attractive but psychologically repellent, all the while couching his fiction in an ironic tone that evoked humor, however lacking in humor the subtext might be. In this manner he could deny to himself that the mother figure always lurked in his work, and by that denial deny that he was a victim of oral regression. For, as Edmund Bergler argues, the creative writer who acknowledges his oral dependency will inevitably succumb to writer’s block. Mann’s late work reveals that his defense against the Gorgon is crumbling. In Doctor Faustus Mann portrays Adrian Leverkühn as, ultimately, the victim of oral regression; but the fact that Mann was able to compete the novel, despite severe physical illness and psychological distress, demonstrates that he himself was still holding writer’s block at bay. In Confessions of Felix Krull: Confidence Man, a narrative that he had abandoned forty years before, Mann was finally forced to acknowledge that he was depleted of creative vitality, but not of his capacity for irony, brilliantly couching the victorious return of the repressed in ambiguity. This study will be of interest to general readers who enjoy Mann’s narrative art, to students of Mann’s work, especially its psychological and mythological aspects, and to students of the psychology of artistic creativity.
Death Stalks the Fire Child is the fourth and final book of the Fire Child series. In Return of the Fire Child, T.J. grudgingly accepts his destiny as the Fire Child, protector of the Inner World, a civilization located within the core of the Earth. Along with his three teen friends, Scott, Chad and Crash, he returns to the land of his birth to battle the evil that threatens not only his world, but also the surface world where he had been raised. Pursued by a Gorgon and her legion of cats, his friends soon learn that the Inner World is a land filled with strange creatures and dangerous beasts such as the boys had never imagined. In Quest of the Fire Child, T.J. seeks to establish himself as the protector of his world and faces new dangers from ruthless men and creatures that wish to destroy him. Once again he calls upon his three friends who, along with the wolf boy, Criton, risk their lives attempting to bring peace to a world in turmoil. It is during this time that T.J. learns that Scott is his half-brother and the bond between the two boys becomes stronger than ever as they see how their fates are intertwined. Fortress of the Fire Child finds T.J. and his friends facing further dangers in the form of Aquatis, a ruthless shape shifter who once battled the Fire Childs father and who seeks revenge against the son. Intrigue also continues as Mathias, T.J.s arch enemy, reappears and attempts to regain the throne of Stonemass, the chief city of the Inner World. Additional danger ensues as an army of mercenaries attempts to attack the Fortress, the home of the Fire Child. Now in Death Stalks the Fire Child, T.J. finds himself battling enemies on two separate fronts and he must rely upon the strength of his friends and their newly acquired powers to face one enemy while he faces the other. While Scott and the others hurry to protect Stonemass from a horde of mutant lizards, T.J. travels to the swampland to face the evil Slurpus who controls Liviatin, the most powerful creature the Fire Child has ever had to face.
