To celebrate Image Comics' 25th Anniversary--the original parody book by DON SIMPSON that skewers the formation of Image and the bozos that founded it! And here's the rub--IT'S ALL TRUE!! (Well, mostly, sort of.) Plus, as a super-special bonus (because we had more pages to fill), we include the normalman-MEGATON MAN SPECIAL by SIMPSON, VALENTINO, MARDER, and BURDEN! Square-bound even! Never before reprinted (and we can certainly see why)! A piece of history at your fingertips (now go wash your hands)!
A man brutally murders another in a peculiar hunting incident—and then proceeds to assume his persona, his life, and his wife.When a petty argument with an arrogant stranger deep in a Wisconsin forest over who killed a deer escalates to murder, playwright Andrew Neville’s life becomes a tangled web of deceit—and self-deception. Back in hometown Chicago, Neville attends the funeral of the man he’s murdered and meets his widow, Claudia, and her 3-year-old son. Neville gradually insinuates himself into the widow’s confidence and conceives a plan to seize the victim’s life—his wife, his son, his work, his wealth, and even his persona and appearance. Neville will become he man he killed. It appears nothing can stop him—except the obnoxious Chicago PI who’s determined to prove that Neville and Claudia murdered her husband together.
He’s a fish out of water, but he still has a bite. Stefan Mendoza was the world’s deadliest assassin. When he’s forced out of retirement by disaster, the only work he can find is with a rotten corporate executive. The job: Locate an invaluable secret prototype stolen by the couriers hired to transport it. But it’s the grotesque murders preceding the theft that interest Mendoza. And as the hunt goes on, the bodies keep piling up. Pick up Split Image, the first book in this new Mendoza trilogy and dive into the dark underbelly of intrigue and crime.
With more than a thousand new entries and more than 2,300 word-frequency ratios, the magisterial fourth edition of this book-now renamed Garner's Modern English Usage (GMEU)-reflects usage lexicography at its finest. Garner explains the nuances of grammar and vocabulary with thoroughness, finesse, and wit. He discourages whatever is slovenly, pretentious, or pedantic. GMEU is the liveliest and most compulsively readable reference work for writers of our time. It delights while providing instruction on skillful, persuasive, and vivid writing. Garner liberates English from two extremes: both from the hidebound "purists" who mistakenly believe that split infinitives and sentence-ending prepositions are malfeasances and from the linguistic relativists who believe that whatever people say or write must necessarily be accepted. The judgments here are backed up not just by a lifetime of study but also by an empirical grounding in the largest linguistic corpus ever available. In this fourth edition, Garner has made extensive use of corpus linguistics to include ratios of standard terms as compared against variants in modern print sources. No other resource provides as comprehensive, reliable, and empirical a guide to current English usage. For all concerned with writing and editing, GMEU will prove invaluable as a desk reference. Garner illustrates with actual examples, cited with chapter and verse, all the linguistic blunders that modern writers and speakers are prone to, whether in word choice, syntax, phrasing, punctuation, or pronunciation. No matter how knowledgeable you may already be, you're sure to learn from every single page of this book.
Since first appearing in 1998, Garner's Modern American Usage has established itself as the preeminent guide to the effective use of the English language. Brimming with witty, erudite essays on troublesome words and phrases, GMAU authoritatively shows how to avoid the countless pitfalls that await unwary writers and speakers whether the issues relate to grammar, punctuation, word choice, or pronunciation. An exciting new feature of this third edition is Garner's Language-Change Index, which registers where each disputed usage in modern English falls on a five-stage continuum from nonacceptability (to the language community as a whole) to acceptability, giving the book a consistent standard throughout. GMAU is the first usage guide ever to incorporate such a language-change index. The judgments are based both on Garner's own original research in linguistic corpora and on his analysis of hundreds of earlier studies. Another first in this edition is the panel of critical readers: 120-plus commentators who have helped Garner reassess and update the text, so that every page has been improved. Bryan A. Garner is a writer, grammarian, lexicographer, teacher, and lawyer. He has written professionally about English usage for more than 28 years, and his work has achieved widespread renown. David Foster Wallace proclaimed that Bryan Garner is a genius and William Safire called the book excellent. In fact, due to the strength of his work on GMAU, Garner was the grammarian asked to write the grammar-and-usage chapter for the venerable Chicago Manual of Style. His advice on language matters is second to none.
Family ties prove deadly in this brilliant Jesse Stone novel from New York Times bestselling author Robert B. Parker. The body in the trunk was just the beginning. Turns out the stiff was a foot soldier for local tough guy Reggie Galen, now enjoying a comfortable "retirement" with his beautiful wife, Rebecca, in the nicest part of Paradise. Living next door are Knocko Moynihan and his wife, Robbie, who also happens to be Rebecca's twin. But what initially appears to be a low-level mob hit takes on new meaning when a high-ranking crime figure is found dead on Paradise Beach. Stressed by the case, his failed relationship with his ex-wife, and his ongoing battle with the bottle, Jesse needs something to keep him from spinning out of control. When private investigator Sunny Randall comes into town on a case, she asks for Jesse's help. As their professional and personal relationships become intertwined, both Jesse and Sunny realize that they have much in common with both their victims and their suspects—and with each other.
A comprehensive disctionary of common misusages illustrates the right way and the wrong way to use language and explores why dictionaries do not always provide the correct meaning or usage of a word.
This reference presents a more efficient, flexible, and manageable approach to unitary transform calculation and examines novel concepts in the design, classification, and management of fast algorithms for different transforms in one-, two-, and multidimensional cases. Illustrating methods to construct new unitary transforms for best algorithm selection and development in real-world applications, the book contains a wide range of examples to compare the efficacy of different algorithms in a variety of one-, two-, and three-dimensional cases. Multidimensional Discrete Unitary Transforms builds progressively from simple representative cases to higher levels of generalization.
Kara van de Graaf’s debut collection heralds the arrival of an essential new voice in contemporary poetry. Through poems that balance personal recollection with ekphrasis, science, and meditation, Van de Graaf searches for answers in the fluctuating relationship between the body and the self. Taking as its primary theme the exploration of the female body in current culture, Spitting Image considers the myriad intersections of the body and gender, desire, relationships, and otherness. Van de Graaf interrogates underrepresented elements of the female experience, especially the physical, rhetorical, and aesthetic limitations of fatness in poetry and other arts. She then complicates those limitations through her use of innovative forms and imaginative verse, implicitly calling for poetry to engage with the female form in fresh ways. Throughout, Van de Graaf’s poems ask: In a time where we have more agency to define ourselves than ever before, what barriers still remain? What do our bodies mean to who we are? At turns oblique and direct, Van de Graaf’s poems strive to create space for themselves not only in the field of contemporary poetry but also in a larger world that has been prone to ignoring or shaming women for their bodies. That these poems succeed on both counts is a testament to this remarkable new poet, who claims “That millimeter of space that means / all of us are apart, that means / we can never really touch / anything. . . . Yes, I want that, too.”
