Enslaved after the slaughter of billions by a violent race of aliens called the Saurons, Earth’s few remaining humans are forced into back breaking labor building mysterious temples for their new masters. The captors claim that these temples, once finishe
Deathday is a Black Comedy Horror. Johnny Thade has mistakenly stolen a disk with every, ever to exist human being's death-date on it. Unfortunately, the people he stole it from want it back and are prepared to use any means necessary to get it, including. The world's first Siamese twin assassins. A troupe of alligator wrestlers from Alabama and a gang of Nazi cowboy zombie bikers.
Oliver lives in a world where at some point in their lives, everyone receives a Deathday Letter, a letter that kindly lets you know you have twenty-four hours left to live. Abraham Lincoln received one, Heath Ledger received one, and on an otherwise typical Thursday morning, fifteen-year-old Oliver Travers receives one. Bummer. With his best friend by his side, Ollie has one day left to live life to the fullest, go on every adventure possible…and set things right with the girl of his dreams.
The official novelization of the #1 smash hit film Happy Death Day and its sequel Happy Death Day 2U, from Blumhouse (Split, Get Out, The Purge franchise) and Universal Pictures. In Happy Death Day, Teresa "Tree" Gelbman's birthday is the worst day of her life, starting when she wakes up in a stranger's bed. It's also the last day of her life, ending when she's killed by a psychotic killer with a knife. She's dead. And then she wakes up in a stranger's bed, it's September 18, and she has to live it all over again . . . until she's hunted down and wakes up, again, and again. It's a Groundhog Day situation, only with murder, guns, and mean girls, and Tree's only shot at living to see the next day is to relive the day of her murder, over and over, until she discovers her killer's identity. Happy Death Day 2U picks up the story without missing a beat. Tree Gelbman thought she'd finally lived to see a brand-new day. But when she wakes up on her same birthday and an all-new psychopath in a mask is out to kill her and her friends, she's going to find out that all the rules have changed. Death makes a killer comeback.
This book explores the whole range of the output of an exceptionally versatile and innovative poet, from the Epodes to the literary-critical Epistles. Distinguished scholars of diverse background and interests introduce readers to a variety of critical approaches to Horace and to Latin poetry. Close attention is paid throughout to the actual text of Horace, with many of the chapters focusing on reading a single poem. These close readings are then situated in a number of different political, philosophical and historical contexts. The book sheds light not only on Horace but on the general problems confronting Latinists in the study of Augustan poetry, and it will be of value to a wide range of upper-level Latin students and scholars.
Austrian author Günther Kapi’s micro-fictions in Miniatures deal with the variety and simultaneity of spatial experiences in language, which he wants to make to a tangible experience, to movement in the text of its language and words, which at best provoke new perceptions and perspectives in its readers. Straight lines from A to B do not exist in our consciousness, which is constantly under attack by its impressions and experiences: seeing, smelling, tasting, hearing, feeling. They sometimes seem to have nothing to do with each other in the text, a juxtaposition of impressions, existing singularly, though they do form a whole. In memory it is words, which awaken, combine, trigger emotions, and suddenly direct to a new path, leading to different locations of the experienced. It’s the famous 1+1=3! Only instead of numbers, the word unifies. Words have a body, a sounding board, permanently vibrating and creating spaces in this movement, which stretches out, narrows, and multiplies itself further—stories arise in this word rhythm, plots are traced, broken off and newly established. Windows of perception merge seamlessly as well as the internal and external view.
On March 19, 1937, world-renowned Soviet film-maker, Sergei Eisenstein, appears before the All-Union Creative Conference of Workers in Soviet Cinematography, accused of having failed to create films which reflect the social and political orthodoxy of the Stalinist regime. Reeling from an unrelenting barrage of questions, accusations and threats, the film-maker struggles to respond to the dilemma which is faced by all artists in totalitarian states: how to reconcile ones freedom of imagination and creativity with the conformity to the artistically-stifling orthodoxy which is demanded by the rulers of society? His response is an example of the ingenuity which is often displayed by artists in repressive societies.