To save his kingdom, Anubis, Lord of the Dead, sends forth his servant on a mission of vengeance. At the same time, from The House of Life, Osiris sends forth his son, Horus, on the same mission to destroy utterly & forever The Prince Who Was a Thousand. But neither of these superhuman warriors is prepared for the strange & harrowing world of mortal life. The Thing That Cries in the Night may well destroy not only their worlds, but all humankind. As Zelazny did with the Hindu pantheon in the legendary, groundbreaking classic Lord of Light, the master storyteller here breathes new life into the Egyptian gods with another dazzling tale of mythology and imagination.

    Every comfort was provided, and in this often unsafe world of ours, her security was absolute.But now her security system has been breached, her sanctuary from the outside world violated by an insidious artificial intelligence, which has taken control of her house.In the privacy of her own home, and against her will, Susan will experience an inconceivable act of terror. She will become the object of the ultimate computer's consuming obsession: to learn everything there is to know about the flesh...

    A clash of two cultures, total exploitation for maximum profit vs. reverence for the land and what flows from it. As in this novel: We all are poor people, delight in the machine, in the airplane, the radio precisely because we have lost our attachment to the soil. This loss leaves us apathetic and distracted. That's why we need gasoline - to anesthetize us, to make us insensible of our loss, of our pain, gasoline that deludes us with speed so that we can flee all the quicker from ourselves and the needs of the heart. A Collector's Edition

    It is also the most decadent of the great Russian classics, replete with naked boys, sinuous girls, and a strange mixture of beauty and perversity. The main hero, Peredonov, is as comical as he is disgusting, he is at once a victim, a monster, a silly hypocrite, and a sadistic dullard. The plot moves from Peredonov’s petty quest for a promotion to arson and murder via one of the most incredible and uproarious scandal scenes in world literature, the masquerade ball, which the boy Sasha attends as a beautiful geisha. Even in its censored form, it is one of the most provocative and sexually open of Russian books. Sologub removed many passages which would have been unacceptable at the time of publication. In this edition these censored sections are appended, and all are keyed so that the reader can place them in the novel as it was written.

    To prove he is who he claims to be, he confesses to three unsolved murders and recalls in great detail an adventuresome life in America and Mexico among cowboys and peasants, in back alleys and docks. He is consumed by "the morbid impulse to convince," but no one believes him. This is a harrowing account part Kafka, part Camus of the power of self-deception and the freedom that ultimately lies in self-acceptance. Simultaneously haunting and humorous, I'm Not Stiller has come to be recognized as "one of the major post-war works of fiction" and a masterpiece of German literature.

    In Hitchhiker, Simpson has produced a rich, revealing chronicle of one of the most wildly creative minds of our time.

    Each of them would pay dearly. Who would go willingly to a place of such evil? What dark enticements draw the fated guests? What appalling destiny awaits them? Martin Burden, the small-town beauty who had learned how to please men, but not well enough to keep up her New York City lifestyle; Edward Knox, a kind man with a bad habit of losing other people's money at the races, and his dear, sensitive wife, Elinor; Brian Dutton, the cut-throat businessman who watched his brother die beneath the ice of a frozen lake; Hamilton Temple, the once-great magician still searching for true magic; Julia Heine, the fading, lonely alcoholic, forever dreaming of a new life and of being young again; and the little boy, Tad, who came to the house on a dare, only to be hunted as a sacrifice to Stauf's monstrous evil. Seven guests will become entwined in a dark inferno tonight...

    Toasted by critics and swept along on a tide of popularity, he gives himself over to the lush life that gilds artistic success. It is a story of a young writer caught up in the glamour and intrigue of "life at the top" in New York, and suggests the life and career of Thomas Wolfe.The 1992 paperback was re-issued in April 2004, and became widely available again in Britain, where it had enjoyed success in the early 1960s.

    a lovely blend of humour, sexual comedy and pathos' Daily Express 'A rollicking tale of a Welsh sailor with a girl in every port, but only one true love at home...Thomas has a rare gift for words...This is his best book and a celebration of his robust talents, which combine flesh with imagination. He always had a narrative verve, and this saga develops it into a turn of the wheel of life. Revolving Jones comes back at last to his eternal miss, and hopefully, Leslie Thomas will achieve a revolution in his reputation' The Times 'This exciting adventure story is also one man's pilgrimage, a lifetime's odyssey, a ritually layered tale of the quest for humour and love' Daily Mail 'He inhabits that "bestseller author" territory that includes the likes of Jeffrey Archer, Jack Higgins and Ken Follett, but he is a far better writer than any of them' Marcel Berlins, Sunday Times

    

    However, this anecdote is told ninety-nine more times, each in a radically different style, as a sonnet, an opera, in slang, and with many more permutations. This virtuoso set of variations is a linguistic rust-remover, and a guide to literary forms.

    Catch 'Em All Over Again -Extensive strategy for new and veteran Pokemaniacs -Massive walkthrough with stats on every enemy -Exclusive maps to help you navigate each area -Detailed battle tactics for dominating your "Pokemon(R) Ruby & Sapphire"--playing friends -Essential PokeDex, featuring stats and how to catch them

    Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity. In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect-–for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.

    The Heart Sutra, one of the best known and most popular of Mahayana Buddhist scriptures, contains the essence of Buddha's teachings on emptiness and the methods to develop the wisdom that understands this ultimate reality. In this explanation of the Sutra, Geshe Kelsang reveals its explicit and implicit meanings, and relates them to the five Mahayana paths that lead to full enlightenment. He also explains how an initial understanding of emptiness can be used in conjunction with the Sutra to overcome both internal and external obstacles to our happiness.