Mi relación con los psicodélicos es íntima, sagrada, mítica, arquetípica. Han contribuido a mi despertar dentro de una sociedad donde este estado de ser es ignorado por las masas, donde la santidad es vista como una enfermedad mental condenable al internamiento, donde el genio es reprimido para el provecho de un conformismo insípido y de una esclavitud moral. Yo estoy profundamente agradecido con ellos por haberme abierto la puerta al absoluto. Esta obra les rinde homenaje, y ojalá que pueda ayudarle a conocer mejor y a apreciar este manjar de los dioses. Mi obsesión por los psicodélicos me ha llevado a comprender su esencia. Actualmente, estoy satisfecho y escribo con la seguridad de aquel que sabe. Lo psicodélico ha llegado a ser para mí algo mucho más profundo de lo que la mayoría dominante se imagina hoy en día, acerca de este tema. Yo deseo en esta obra dar testimonio de lo que Yo Soy. Haré lo imposible para hacerle ver mi verdadera naturaleza, mi mito: el Maestro Psicodélico.
El Gran Silencio es individual, lo siento en mí con tal intensidad que poco importa si me creen o no. Hace tiempo que ya pasé la fase de la aprobación. Aunque sería bueno saber que soy comprendido, no tengo ninguna expectativa en ese sentido. Simplemente he tratado aquí de expresar una vez más lo inexpresable, de dar testimonio de lo que Yo Soy. Al entrar en el Gran Silencio he capitulado. He dejado de creer que la humanidad podía en su conjunto despertarse a la consciencia. No obstante, creo firmemente que algunos individuos lo pueden lograr ya que es su deseo más preciado. Es para ellos que escribo esta obra, es hacia ellos que dedico mi obra. Me gustaría recordarles que es el deber de cada uno el liberarse a sí mismos incluso antes de tratar de hacerlo para los demás.
From the psychomagical guru who brought you The Holy Mountain and Where the Bird Sings Best comes a supernatural love-and-horror story in which a beautiful albino giantess unleashes the slavering animal lurking inside the men of a Chilean village.
Compelling science fiction adventure from New York Times bestseller Robert A. Heinlein: two classic novellas, Gulf and Lost Legacy, and two short stories with speculation on what makes us human. Compelling science fiction adventure from New York Times bestseller Robert A. Heinlein: two classic novellas and two short stories with speculation on what makes us human. Gulf: in which the greatest superspy of them all is revealed as the leader of a league of supermen and women who can't decide on quite what to do with the rest of us. The prequel to Heinlein's later New York Times best seller, Friday. Lost Legacy: in which it is proved that we are all members of that league of the superhuman–or would be, if we but had eyes to see. Plus a double dose of great short stories, with two of the master's finest: one on the nature of being, the other on what it means to be a man. The second story, "Jerry Was a Man," was adapted for the TV series Masters of Science Fiction, and is now available on DVD. About Robert A. Heinlein: “Not only America's premier writer of speculative fiction, but the greatest writers of such fiction in the world.”—Stephen King. “One of the grand masters of science fiction.”—Wall Street Journal
Now a major motion picture streaming on Netflix! Mile 81 meets “N.” in this novella collaboration between Stephen King and Joe Hill. As USA TODAY said of Stephen King’s Mile 81: “Park and scream. Could there be any better place to set a horror story than an abandoned rest stop?” In the Tall Grass begins with a sister and brother who pull off to the side of the road after hearing a young boy crying for help from beyond the tall grass. Within minutes they are disoriented, in deeper than seems possible, and they’ve lost one another. The boy’s cries are more and more desperate. What follows is a terrifying, entertaining, and masterfully told tale, as only Stephen King and Joe Hill can deliver.
A roller-skating nun prophesizes the death of rock'n'roll in spray paint on the walls of a Mexico City high-rise. The angular, succulent leaves of the maguey plant dance to the rhythm of Shostakovich's 11th Symphony. A feminist prankster wreaks havoc in a monastic order by adding LSD to the friars' drinking supply. A postmodern ranchera singer savors the taste of her own pumping heart. Mexican cinema is ripe with such subversive images: over the last sixty years scores of film- and video-makers have fractured narrative and toppled conventions in an avant-garde rebellion that has taken a myriad of subversive forms, and they are all sampled in this first-ever survey of experimental Mexican media arts. Edited by Rita Gonzáles and Jesse Lerner.
The complete series of filmmaker Alejandro Jodorowsky’s spiritual comics, translated into English for the first time • Contains all 284 of Jodo’s Panic Fables comics, published weekly from 1967 to 1973 in Mexico City’s El Heraldo newspaper • Includes an introduction describing how the Panic Fables came to be • Explains how he incorporated Zen teachings, initiatory wisdom, and sacred symbology into his Panic Fables, as well as himself as one of the characters In 1967, in response to theatrical censorship rules that put him on the political “black list” in Mexico City and caused his plays and his pantomime classes at the School of Fine Arts to be cancelled, Alejandro Jodorowsky decided to pursue a new form of artistic expression to earn his living: comics. Working with his friend Luis Spota, the editor of the cultural section of the newspaper El Heraldo de México, Jodo initially planned 3 months’ worth of weekly comics, which he would draw himself. However, his “Panic Fables”--named after his early ‘60s avant-garde theater movement in Paris--were met with such insatiable popularity that he continued the series for six and a half years, from June 1967 until December 1973. Appearing for the first time in English, this book presents all 284 of Jodorowsky’s Panic Fables in full color, along with an introduction by the author. He reveals how his first comics reflected his pessimism about the future and the meaning of life, the negativity of which soon exhausted him. He realized he needed to show the positivity that he encountered in life, and thus, little by little, he began incorporating Zen teachings, initiatory wisdom, and sacred symbology into his Panic Fables. Through this transformation and the outpouring of support from his devoted readers, many of whom cite the Panic Fables as providing pivotal guidance during their adolescence, Jodo discovered that art can serve to heal as well as raise consciousness. Writing himself into his comics, Jodo can be glimpsed as the character of the disciple who talks with his master and, as the series progresses, gradually grows to assume the role of master, providing psychomagic solutions to the problems of everyday life. In reading the complete Panic Fables in chronological order, much like his film The Dance of Reality, we witness in colorful detail Jodorowsky’s own path of spiritual growth.
