This is already a cult book in certain circles. Although it's aimed at the average reader, it contains something characteristic of turning points in the history of philosophy. Like ancient Greek (Socrates) and modern philosophy (Descartes), Serbian contemporary philosophy gets its demon too. Apart from the appearance of the Daemon as the inspirer of this book, the theme itself is unusual. In fact, this work is like a multiple personality connected by a single thread that can be followed throughout the book - the theme of barbarians. The book deals with philosophical topics covered in the cult film Conan the Barbarian. Those are the ideas of Nietzsche, Schopenhauer, Hegel, which are presented in an artistically remarkably successful way by famous American director John Milius. The philosophical views presented in the film, when it comes to eternal life and philosophical issues are complemented by the author's attempt to synthesize Kant's ethical formalism and Nietzsche's dualistic immoralism. Like a real treat, the theory of human sexuality as the cause of barbarian invasions is left for the end. But we don't know whether this intriguing theory is a step back or forward for the civilization. Does a civilized man have to look up to Nietzsche's ideal of "overman" in order to avoid being replaced by a barbarian? It's perhaps the best to read this book and judge for yourself.
Conan the Barbarian is one of the most famed figures in fantasy fiction. With the success of the new film starring Jason Momoa and Ron Perlman, the time is right to revisit Robert E. Howard's classic stories. Presented in chronological order over three books, all of Conan's life is here, from his wild adventures as a youth to the final tale of Conan the King. Howard's tales of the wanderer, the reaver, the thief, the Barbarian have never been surpassed. In this volume Conan learns the secrets of THE TOWER OF THE ELEPHANT and the ROGUES IN THE HOUSE, meets THE FROST-GIANT'S DAUGHTER and the QUEEN OF THE BLACK COAST and visits THE VALE OF LOST WOMEN and THE BLACK COLOSSUS. A selection of other tales and fragments round out this new collection of a classic character.
The intense psychological portrait of a hitman—the anti-Jason Bourne—as he stalks his prey from Boston to LA. He wants you to know him, maybe even admire him, but only for his excellence in his craft. Perhaps he was even born for it. "A natural killer," his mentor—a middleman named Vespucci—said he was. He proved it with his first professional hit: a Fifth Circuit Court judge in Boston, executed with a sheet of Saran Wrap in the stairwell of her own courthouse. He's proved his merit often, usually with a Glock semiautomatic, but he's improvised too, with his bare hands, the heel of a shoe, knives, even a sewing machine. He is the consummate assassin, at the top of his form, immune to the psychological strains of his chosen profession. He is what the Russians call a Silver Bear. He calls himself Columbus. It's the name Vespucci gave him, ten years ago, when he discovered a dark, new world of fences, clients, marks, jobs, jack. Not that his real name meant much to him anyway. He never knew his father or his mother, a prostitute who became dangerously involved back in the seventies with an earnest young congressman named Abe Mann, then a rising star in the Democratic Party. The magnetic Abe Mann has since become the Speaker of the House. He is currently running for the Democratic nomination in an exhausting presidential campaign, weaving his way across the country. Columbus is not far behind. But as he pieces together his past and prepares the seamless assassination of his mark, the criminal underworld he has always ruled begins unraveling violently around him.
Gabriel Richardson Lear presents a bold new approach to one of the enduring debates about Aristotle's Nicomachean Ethics: the controversy about whether it coherently argues that the best life for humans is one devoted to a single activity, namely philosophical contemplation. Many scholars oppose this reading because the bulk of the Ethics is devoted to various moral virtues--courage and generosity, for example--that are not in any obvious way either manifestations of philosophical contemplation or subordinated to it. They argue that Aristotle was inconsistent, and that we should not try to read the entire Ethics as an attempt to flesh out the notion that the best life aims at the "monistic good" of contemplation. In defending the unity and coherence of the Ethics, Lear argues that, in Aristotle's view, we may act for the sake of an end not just by instrumentally bringing it about but also by approximating it. She then argues that, for Aristotle, the excellent rational activity of moral virtue is an approximation of theoretical contemplation. Thus, the happiest person chooses moral virtue as an approximation of contemplation in practical life. Richardson Lear bolsters this interpretation by examining three moral virtues--courage, temperance, and greatness of soul--and the way they are fine. Elegantly written and rigorously argued, this is a major contribution to our understanding of a central issue in Aristotle's moral philosophy.
The Barbaric Triumph examines all aspects of the life and work of Robert E. Howard -- the originator of the sword-&-sorcery antasy genre and the creator of Conan the Barbarian. Featured are essays by Leo Grin, Edwrad A. Waterman, Charles Hoffman, Paul Spencer, Mark Finn, Steven R. Trout, Lauric Guillaud, Scott Connors, George Knight, Don Herron, and more. From the phantoms of Hate simmering beneath Howard's blood-drenched prose to Howard's lifelong interest in philosophy, from Howard's visionary use of the American Frontier Myth to his tales of boxing, The Barbaric Triumph builds on the pioneering research of Heron's previous book on Howard, The Dark Barbarian and takes it to new levels.
In a meteoric career that spanned a mere twelve years, Robert E. Howard single-handedly invented the genre that came to be called sword and sorcery. From his fertile imagination sprang some of fiction’s most enduring heroes. Yet while Conan is indisputably Howard’s greatest creation, it was in his earlier sequence of tales featuring Kull, a fearless warrior with the brooding intellect of a philosopher, that Howard began to develop the distinctive themes, and the richly evocative blend of history and mythology, that would distinguish his later tales of the Hyborian Age. Much more than simply the prototype for Conan, Kull is a fascinating character in his own right: an exile from fabled Atlantis who wins the crown of Valusia, only to find it as much a burden as a prize. This groundbreaking collection, lavishly illustrated by award-winning artist Justin Sweet, gathers together all Howard’s stories featuring Kull, from Kull’ s first published appearance, in “The Shadow Kingdom,” to “Kings of the Night,” Howard’ s last tale featuring the cerebral swordsman. The stories are presented just as Howard wrote them, with all subsequent editorial emendations removed. Also included are previously unpublished stories, drafts, and fragments, plus extensive notes on the texts, an introduction by Howard authority Steve Tompkins, and an essay by noted editor Patrice Louinet. Praise for Kull “Robert E. Howard had a gritty, vibrant style–broadsword writing that cut its way to the heart, with heroes who are truly larger than life.”—David Gemmell “Howard’s writing seems so highly charged with energy that it nearly gives off sparks.”—Stephen King “Howard was a true storyteller–one of the first, and certainly among the best, you’ll find in heroic fantasy. If you’ve never read him before, you’ re in for a real treat.”—Charles de Lint “For stark, living fear . . . what other writer is even in the running with Robert E. Howard?”—H. P. Lovecraft
This 860-page collection contains all of Robert E. Howard's Conan the Cimmerian stories published during his lifetime, contextualized with biographical details of their author. The hardcover, a Multimedia Bundle Edition, includes the e-book and audiobook editions as downloadable bonus content. Excerpt from Introduction: "When the first Conan of Cimmeria story appeared in the pages of Weird Tales magazine in December 1932, nothing quite like it had ever before appeared in print.Author Robert E. Howard had been writing stories broadly similar to it for half a decade; but it was with Conan, and the Hyborian Age storyworld in which he was placed, that Howard finally fully doped out the sub-genre that would become known as "sword and sorcery," of which Howard is today considered the founding father. "Conan's origins date back to an experiment in 1926 titled "The Shadow Kingdom," featuring the character Kull, exile of Atlantis. The idea -- Howard's great innovation -- was, at its core, historical fiction set in a pre-historical period. That pre-historical period -- being, of course, lost in the mists of time -- could contain anything Howard might like to include: evil races of sentient snake-things, sorcerers, undead creatures, demons walking upon the earth, anything. "In other words, Howard was creating a secular mythology. "And as with any mythology, secular or no, there would be a hero, a Ulysses or a Theseus, an exceptional man of legend striding through that myth-world, sword in hand, righting wrongs and slaying supernatural monsters and, along the way, providing metaphorical insight onto his world and ours. "At the same time, he was finding success with another historical-fiction-fusion innovation: The grim, savage English Puritan Solomon Kane. Kane's world was the skull-strewn chaos of Europe and north Africa during the Thirty Years War, in the early 1600s. Little enough is known about specific events during that dark time that it was possible to take historical liberties with it as a storyworld, so that it could accommodate dark magic, walking skeletons, vampires, magic staffs, and, of course, N'Longa the witch-doctor. "Howard quickly realized he was onto something with Solomon Kane. The first Solomon Kane story, "Red Shadows," appeared in August 1928 in Weird Tales, and readers loved it. Here was a dark, brooding world of menace and witchcraft connected pseudo-genealogically to their own. It was easy for readers to "take the ride" -- to suspend their disbelief and envision Kane's adventures as a part of the real world. "But, perhaps the connection with the real world was too close. The countries of 1630s Europe are well known; the causes of the conflict fully understood. There was only so much Howard could do in Solomon Kane's world. Moreover, Solomon Kane is just a hard character to root for. Unlike Kull, he is, not to put too fine a point on it, really not a sane man. "So it makes perfect sense that after the shadowy, prehistoric world of Kull and the dark, necromantic world of Solomon Kane, Howard would combine these two precursors to develop a world that was far enough into the distant past to be free of actual historical constraints -- like Kull's -- yet close enough to the present to still exist as echoes and legends in the world's mythologies. "And so Howard created The Hyborian Age, circa 10,000 B.C. And to play the role of our avatar as we explore this shadowy, almost-historical world, he gave us Conan the Cimmerian - to tread the jeweled thrones of the Earth under his sandalled feet."
The start of one of the greatest fantasy stories ever told. Contains the first short stories featuring Robert E. Howard’s legendary Conan, one of the most iconic fantasy characters in history, on a rarified list next to Gandalf and Harry Potter. Also includes stories of of Kull of Atlantis, and an essay on the history of their world. Includes "The Tower of the Elephant," "The God in the Bowl," "Rogues in the House," "The Frost-Giant’s Daughter," and "Queen of the Black Coast." Penguin Random House Canada is proud to bring you classic works of literature in e-book form, with the highest quality production values. Find more today and rediscover books you never knew you loved.
The raw, ancient and primordial force symbolised by horns has long had associations with mystery, magick and power. Our ancestors often envisaged their gods as anthropomorphic beings who encapsulated this wild essence. Today the gods of the bull, the ram, the goat and the stag still hold tremendous power and are invoked at rituals by a new priesthood who continue to seek the wildness of nature and the inspiration that it holds. These deities transcend the safe and known boundaries of human structure, sometimes even luring us across the threshold of the known into the unknown worlds beyond. This unique anthology brings together the work of more than twenty people, including that of dedicated scholars and modern day mystics. Through their written and artistic contributions they illustrate some of the many manifestations of the Horned God. A true cornucopia of both insightful and well researched essays takes us from the well known Celtic Cernunnos and the legend of Herne the Hunter, to the goat-footed Greek Pan, the lesser known Slavic Veles and Egyptian Khnum. Horned serpents, unicorns, the tale of the Battle of the Bulls in the Irish Tain Bo Cuailnge, the Welsh Gwyn Ap Nudd and the faery Puck are all also considered. Then a wild hunt as we journey with the mystics who share their own experiences of the gods of the wildwood and untamed beasts. Each story is as different as the person who experienced it - and each illustrating in its own unique way a Horned God who is wild, unpredictable, loving - and at heart a trickster. For those who wish to dare a bit more than others, visionary meditation journeys to explore the mysteries of Cernunnos and Gwyn Ap Nudd are included. Horns of power would of course be nothing without the horns of beauty of the feminine divine, and in the final section of this anthology the reader is presented with works exploring horned goddesses, such as the lunar horned Hekate, Selene and Artemis and the antlered Elen. Whether through the mysteries of their existence, the vast scope of their influence or the endurance of their survival through to the modern day, each contribution provides a window into the wonders and mystery of the enduring magick of the horned gods.
