"Who knows what evil lurks in the hearts of men? The Shadow knows! A ruthless blackmailer acquires the Q-ray, a deadly device that kills with eerie selectivity via "The Dark Death." Then, a dying gunman asks the Knight of Darkness to save his brother from a life of crime in "House of Shadows," a powerful tale of redemption. BONUS: An executed murderer returns to exact vengeance on Margo Lane's father in "Murder by the Dead," a lost radio thriller from Orson Welles' first month as The Shadow. This instant collector's item showcases the original color pulp covers by George Rozen and Graves Gladney and all the classic interior illustrations by Tom Lovell and Edd Cartier, with historical articles by Will Murray and Anthony Tollin. (Sanctum Books) Softcover, 7x10. B&W, $12.95
Here is a book as joyous and painful, as mysterious and memorable, as childhood itself. I Know Why the Caged Bird Sings captures the longing of lonely children, the brute insult of bigotry, and the wonder of words that can make the world right. Maya Angelou’s debut memoir is a modern American classic beloved worldwide. Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local “powhitetrash.” At eight years old and back at her mother’s side in St. Louis, Maya is attacked by a man many times her age—and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns that love for herself, the kindness of others, her own strong spirit, and the ideas of great authors (“I met and fell in love with William Shakespeare”) will allow her to be free instead of imprisoned. Poetic and powerful, I Know Why the Caged Bird Sings will touch hearts and change minds for as long as people read. “I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity.”—James Baldwin From the Paperback edition.
Collecting Blade: Sins Of The Father, Blade (1998) #1-3 And Blade (1999) #1-6 And #1/2. Blade is back and hes slashing his way through all sorts of bloodsuckers! The Daywalker finds himself in the middle of an undead gang war when a vampiric Mafia Dons daughter seeks vengeance for the sins of her father, and Blade is her weapon of choice! Meanwhile, in New Orleans, Morbius the Living Vampire is drawn into a dark and deadly plot! But how does the covert branch of S.H.I.E.L.D. called Silvereye plan to deal with vampires and other creatures of the night, and where does our favorite vampire hunter fit in? As a deadly fiend awakens, Blade, Silvereye and perhaps the world will be made to fear the Reaper! Its blood and chaos as only the Daywalker can bring it!
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
Reprint of the original, first published in 1874. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
New York Times Bestseller • Finalist for the Pulitzer Prize • An Oprah's Book Club Selection “Powerful . . . [Kingsolver] has with infinitely steady hands worked the prickly threads of religion, politics, race, sin and redemption into a thing of terrible beauty.” —Los Angeles Times Book Review The Poisonwood Bible, now celebrating its 25th anniversary, established Barbara Kingsolver as one of the most thoughtful and daring of modern writers. Taking its place alongside the classic works of postcolonial literature, it is a suspenseful epic of one family's tragic undoing and remarkable reconstruction over the course of three decades in Africa. The story is told by the wife and four daughters of Nathan Price, a fierce, evangelical Baptist who takes his family and mission to the Belgian Congo in 1959. They carry with them everything they believe they will need from home, but soon find that all of it—from garden seeds to Scripture—is calamitously transformed on African soil. The novel is set against one of the most dramatic political chronicles of the twentieth century: the Congo's fight for independence from Belgium, the murder of its first elected prime minister, the CIA coup to install his replacement, and the insidious progress of a world economic order that robs the fledgling African nation of its autonomy. Against this backdrop, Orleanna Price reconstructs the story of her evangelist husband's part in the Western assault on Africa, a tale indelibly darkened by her own losses and unanswerable questions about her own culpability. Also narrating the story, by turns, are her four daughters—the teenaged Rachel; adolescent twins Leah and Adah; and Ruth May, a prescient five-year-old. These sharply observant girls, who arrive in the Congo with racial preconceptions forged in 1950s Georgia, will be marked in surprisingly different ways by their father's intractable mission, and by Africa itself. Ultimately each must strike her own separate path to salvation. Their passionately intertwined stories become a compelling exploration of moral risk and personal responsibility.
The central thesis of this book is that a genre approach provides the most effective means for understanding, analyzing and appreciating the Hollywood cinema. Taking into account not only the formal and aesthetic aspects of feature filmmaking, but various other cultural aspects as well, the genre approach treats movie production as a dynamic process of exchange between the film industry and its audience. This process, embodied by the Hollywood studio system, has been sustained primarily through genres, those popular narrative formulas like the Western, musical and gangster film, which have dominated the screen arts throughout this century.
Spider-Man's run through the gauntlet of his deadliest foes concludes, but can he survive the Grim Hunt? Spidey must tackle one of the most unyielding enemies he's ever faced - but it turns out that something can stop the Juggernaut, and that means big trouble for both of them! Then, the Lizard is back - deadlier than ever! But as the Kraven family's plans come to fruition, the hunt begins - and it's Spider season! Sasha and Anastasia Kravinoff are preparing an unholy resurrection, and that puts our friendly neighborhood wallcrawler and his arachnid allies - as well as the Black Cat - in the firing line! Can Spider- Man get through this latest challenge without a death in the family? COLLECTING: AMAZING SPIDER-MAN (1999) 627-637, GRIM HUNT: THE KRAVEN SAGA (2010) 1, AMAZING SPIDER-MAN PRESENTS: BLACK CAT (2010) 1-4, MATERIAL FROM WEB OF SPIDER-MAN (2009) 6-7
