A year later, as a member of Britain's elite No. 3 Commando, Lynch wants nothing more than to go back over the Channel and kick open Hitler's Fortress Europe, guns blazing. Introduced by his commanding officer to the enigmatic Lord Pembroke, Lynch is offered a chance to be part of a special team of hand-picked Commandos. Their assignment: sneak into occupied France and ally with the French partisans to fight back against the Nazis. Lynch readily accepts the challenge, but when the mission goes awry from the very beginning, and the motives of the partisan leader become suspect, the Commandos begin to wonder about their role in the mission: trusted allies with the partisans, or worms dangling as bait for a hungry fish?COMMANDO: Operation Arrowhead is a military action - adventure novel written in the spirit of classic war movies and wartime pulp adventure fiction.

    Almost every important writer of fantastic fiction in the first half of this century—including H.P. Lovecraft, Robert E. Howard, Ray Bradbury, Robert Bloch, Fritz Lieber—and countless other notables have had their works showcased in its pages.Now, in this special volume compiled by popular anthologist Marvin Kaye, some of the most memorable horrific, bizarre tales ever published are assembled, all of which have appeared in various incarnations of Weird Tales over the years.Interim by Ray BradburyThe House of Ecstasy by Ralph Milne FarleyThe Stolen Body by H.G. WellsThe Scrawny One by Anthony BoucherThe Sorcerer's Apprentice by Lucian of Samosata translated by Sir Thomas MoreSkulls in the Stars by Robert E. HowardEena by Manly BanisterThe Look by Maurice LevelMethought I Heard A Voice by L. Sprague de Camp and Fletcher PrattOff the Map by Rex DolphinThe Last Train by Fredric BrownTi Michel by W.J. StamperIn the X-Ray by Fritz LeiberSpeak by Henry SlesarThe Pale Criminal by C. Hall ThompsonThe Sombrus Tower by Tanith LeeMr. George by August DerlethThe Terror of the Water Tank by William Hope HodgsonThe Legend of St. Julian the Hospitaller by Gustave FlaubertThe Hoax of the Spirit Lover by Harry HoudiniSeed by Jack SnowMasked Ball by Seabury QuinnThe Woman with the Velvet Collar by Gaston LerouxMistress Sary by William TennThe Judge's House by Bram StokerThe Bagheeta by Val LewtonGhost Hunt by H.R. WakefieldFuneral in the Fog by Edward D. HochThe Damp Man by Allison V. HardingThe Lost Club by Arthur MachenWet Straw by Richard MathesonMysteries of the Faceless King by Darrell SchweitzerMore Than Shadow by Dorothy QuickThe Dead Smile by F. Marion CrawfordThe Sorcerer's Apprentice by Robert BlochChicken Soup by Katherine MacLean and Mary KornbluthThe Haunted Burglar by W.C. MorrowNever Bet the Devil Your Head by Edgar Allan PoeHe by H.P. LovecraftThe Brotherhood of Blood by Hugh B. CaveThe Weird of Avoosl Wuthoqquan by Clark Ashton SmithMen Who walk Upon the Air by Frank Belknap LongA Child's Dream of a Star by Charles DickensThe Perfect Host by Theodore SturgeonWhy Weird Tales attributed to Otis Adelbert KlineDust jacket illustration by Richard Kriegler, based on Howard's "Skulls in the Stars." Interior drawings by Richard Kriegler.Weird Tales has always been the most popular and sought-after of all pulp magazines. A mix of exotic fantasy, horror, science fiction, suspense, and the just plain indescribable.

    A, the legendary comic book artist Steve Ditko was conjuring all manners of horrors at his drawing table. In his first two years in the industry (1953 and 1954), Ditko drew tales of macabre suspense that were not yet hobbled by the imminent Comics Code Authority (adopted in October 1954). These stories featured graphic bloodshed, dismemberment and blood-curdling acid baths as the ugly end to the lives of the dark and twisted inhabitants of Steve Ditko’s imagination. Following up on Strange and Stranger: The World of Steve Ditko, Blake Bell’s 2008 best-selling critical retrospective of Ditko’s career, strange suspense, Strange Suspense: The Steve Ditko Archives Vol. 1 will, for the first time, feature spectacular full-color reprints of every story from those first two years of his career. Beginning with Ditko’s very first story to Ditko’s short stint in the Joe Simon/Jack Kirby studio, to Ditko’s eventual encampment at the Charlton Comics operation in 1954, readers will see the initial works of an artist already at a level of craftsmanship that exceeded most of his peers. The book will also feature editor Bell’s insightful historical notes.“Ditko’s legacy is undeniable…visually he was revolutionary.”—MacLeans “Ditko’s artwork is impossible to shake.”—Douglas Wolk, author of Reading Comics

    Jost studied the music (not the lives) of a selection of musicians-black jazz artists who pioneered a new form of African American music-to arrive at the most in-depth look so far at the phenomenon of free jazz. Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions; Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form.In Free Jazz, Jost paints a group of ten "style portraits"-musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and '70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.

    His unearthly style based on elaborate linguistic riddles and puns fascinated the Surrealists and famously influenced the composition of Marcel Duchamp's -Large Glass, - but also affected writers as diverse as Gide, Robbe-Grillet and Foucault (author of a book-length study of Roussel). The title essay of this collection is the key to Roussel's method, and it is accompanied by selections from all his major works of fiction, drama and poetry, translated by his New York School admirers John Ashbery, Kenneth Koch and Harry Mathews, and the painter and author Trevor Winkfield. Ashbery writes that Roussel's work is -like the perfectly preserved temple of a cult which has disappeared without a trace... we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret.-

    Leonora Carrington, an artist of the Surrealist Movement, here joins fiction with autobiography in a collection of work including accounts of her life before and after she met Max Ernst as well as short stories, a novella and original artwork.

    The other guests soon become obsessed with the man, the equivocal unsettling Allan. One by one they realise who he is-that Death has come to spend the summer with them. Amid the ceaseless thunder of the waves, the wild and often surreal Breton landscape, the group that gravitates around Allan-an uncannily contemporary figure-gradually disintegrates. His death seems to symbolize the end of a generation, the approach of war.That Gracq wrote this oblique, prescient novel in a remote German prisoner-of-war camp makes its carefree jazz age setting particularly poignant.

    When two women, an amnesiac albino giantess and a woman called The Crab, arrive in this South American desert town, their otherworldly allure and unfettered sensuality and turns men into wild animals.A modern day Kafka story on hallucinogens, with strong doses of mysticism and horror, Albina and the Dog Men reads like an ancient folk tale whispered at night, fused with an urgent critique of contemporary society. Its essence is dark magical realism that throws into question the nature of what it is to be human.“The man of his time, which is to say, our time… A shaman and apprentice, always polemical, often wild, ubiquitous and cosmopolitan… A wild story with eroticism, nasty insults, nudity, sexuality, lyricism, and a magical-scatological aura.”—ENcontrARTE“Jodorowsky uses his fertile imagination to present a mixed bag of historical and imaginary characters, such as the Inca King, Atahualpa, and a cast of half-humans and half-beasts that possess magical powers… Very well crafted… Strongly recommended.”—Publishers Weekly“One of the most important Latin American writers… An almost cinematic story, a novel that becomes more magical and mysterious each time a new page is turned… An impassioned and carnal novel like few that have been as well received by the general public.”—Area Libros“Lucid as few members of his generation are, Alejandro Jodorowsky has published Albina and the Dog Men… [which has] the aesthetic he made a show of in Where the Bird Sings Best: extreme magical realism to the limits of sexuality and spirituality… In in the classic format of adventure novels, Jodorowsky proposes a search for the philosophy of sex through a literature that aims more for healing than for aesthetics. As Antonio Escohotado showed, the road toward beatitude starts with well-prepared genitals. And Jodorowsky knows it.”—Proscritos“Albina and the Dog Men is a fantastical novel that goes far beyond the reader’s mere entertainment… Jodorowsky looks to break mental and psychological taboos that prevent many people from being themselves… Only the life experience of a psychological maestro like Alejandro Jodorowsky could give birth to this excellent novel. Enjoy it!”—Lux AteneaAlejandro Jodorowsky was born to Ukrainian Jewish immigrants in Tocopilla, Chile. From an early age, he became interested in mime and theater; at the age of 23, he left for Paris to pursue the arts, and has lived there ever since. A friend and companion of Fernando Arrabal and Roland Topor, he founded the Panic movement and has directed several classic films of this style, including The Holy Mountain, El Topo and Santa Sangre. A mime artist, specialist in the art of tarot, and prolific author, he has written novels, poetry, short stories, essays, and over thirty successful comic books, working with such highly regarded comic book artists as Moebius and Bess. Restless Books will be publishing three of Jodorowsky's best-known books for the first time in English: Donde mejor canta un pájaro (Where the Bird Sings Best), El niño del jueves negro (The Son of Black Thursday), and Albina y los hombres perro (Albina and the Dog Men).

    Separated at an early age from two conflicting personalities, Alistair Crompton has decided on a daring scheme to reintegrate himself. But installed in different bodies and despatched to different planets, his two other selves have developed lives of their own: Loomis, who is completely self-indulgent and amoral; and Stack, vicious and impulsive. Both are direct opposites to the original Alistair; and their eventual reunion seems unlikely and highly dangerous....

    President Roosevelt musters the captains of industry and leading scientists to find a way to turn back the Martian tide

    Dick—now in English for the first timeIn The Deep Sea Diver’s Syndrome, lucid dreamers called mediums dive into their dreams to retrieve ectoplasms—sticky blobs with curiously soothing properties that are the only form of art in the world. The more elaborate the dream, the better the ectoplasm.David Sarella is a medium whose dream identity is a professional thief. With his beautiful accomplice Nadia, he breaks into jewelry stores and museums, lifts precious diamonds, and when he wakes, the loot turns into ectoplasms to be sold and displayed.Only the dives require an extraordinary amount of physical effort, and as David ages, they become more difficult. His dream world—or is it the real world?—grows unstable. Any dive could be his last, forever tearing him away from Nadia and their high-octane, Bond-like adventures.David decides to go down one final time, in the deepest, most extravagant dive ever attempted. But midway through, he begins to lose control, and the figures in the massive painting he’s trying to steal suddenly come to life…and start shooting.

    This is a PRE-ISBN edition.A tough-guy mystery to please even the most bloodthirsty of fans

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    Originally published in France in 1958 and immediately banned, this novel concerns the sexual games of domination and punishment that take place between two women to which only the narrator has access.

    Originally published in the October, 1933 issue of The Spider.