After the unfortunate events that took place in Britain, Jacob Hunter is no longer certain of many things, but this ill-fated truth is one he understands implicitly. Having spent months battling his addiction to the all-powerful blue orb, a device capable of traveling through time but equally adept at breaking a man’s mind, Jacob has finally succumbed to it. Once aided by loyal companions and the woman he loves, Jacob has abandoned everyone he has ever trusted, his mind warped by the orb’s influence. However, recently given new clues concerning the orb’s potential, Jacob departs for Rome, where he now knows a second orb lay hidden, waiting to be reunited with the orb he already possesses. Accompanied only by Rome’s manipulative empress, Agrippina the Younger, the pair journey to Rome where they hope to discover the secret to the orb’s power, but a destructive truth lies behind what they seek, one he may not be fully prepared to combat… But Jacob is not the only one about to embark on a daring quest. Having been abandoned and left without direction in the hinterlands of ancient Britain, Jacob’s sister, Diana, must find it in herself to rally Jacob’s jilted friends and corral an enraged Helena, the woman he loves, who carries her own mysterious secret after her life was miraculously saved at the brink of death. Unprepared for the responsibility suddenly thrust on her by Jacob's disappearance, Diana understands that she and her friends must find him before it's too late. Clouded and perverted though his mind may be, she knows her brother all too well. Jacob, tormented and driven beyond rationality, is prepared to sacrifice everything to find the lost orb. Including his life...

     War is raging across the rest of Europe, but the people of idyllic Guernsey are going about their daily lives. Even with the Third Reich steadily increasing in power, the island continues as normal, blissfully unaffected by Nazi expansion. Sarah and Greg and their young daughter, Suzanne, are the perfect family, spending their days playing tennis together and enjoying picnics on the beach. But when the evil spreading across the continent finally - and unexpectedly - reaches the Channel Islands, their lives implode before their eyes. With their beloved island about to be occupied by German forces, it is arranged for Suzanne to be evacuated to England and the family is torn apart. Life is almost unbearable for Sarah and Greg without their only child, and it only worsens as food becomes scarce and crime rates soar. Forced to watch the home they'd loved disintegrate, how much longer can they survive? The first in Diana Bachmann's compelling Guernsey Saga series, A Sound Like Thunder is an evocative, poignant story of adversity, family, and survival. If you liked The Guernsey Literary and Potato Peel Society, you'll love this moving series! Diana Bachmann was born in Guernsey in 1950. She has three children and six grandchildren, plus a large family of stepchildren and step-grandchildren. Having lived in the Bahamas and Spain with her second husband, bestselling author Christopher Nicole, she has since returned to Guernsey. Inspired by her own experiences as a child evacuee during the Nazi occupation of the island, she authored the popular Guernsey Saga series.

    That doesn't matter now, the sea doesn't discriminate. Assigned to duty aboard HMS Inflexible, Archy Buller follows a long line of men in the Buller family who have become officers in the Royal Navy, often to great acclaim. For Rod Maclewin, a welder’s son, joining the Navy is the only way to escape an inevitable life of poverty. It is during the fierce riots in Alexandria, at a besieged railway station, that the paths of the two men fatefully meet. And in spite of their class differences, Buller and Maclewin strike an immediate friendship. But with the trials and tribulations of life at sea, and the ever-present dangers of battle, will their friendship stand the test of time? Buller’s Guns, set in the late Victorian Era, is an action-packed naval adventure that vividly portrays the realities of life at sea. Praise for Richard Hough ‘Solid entertainment for fans of period naval action’ – Kirkus Review ‘Hough is a good storyteller with a refreshing, breezy style’ – The Wall Street Journal ‘Hough is shrewd and subtle’ – The Sunday Telegraph Richard Hough, the distinguished naval historian and winner of the Daily Express Best Book of the Sea Award (1972) was the author of many acclaimed books in the field including Admirals in Collision, The Great War at Sea: 1914-18, and The Longest Battle: The War at Sea 1939-45. He was also the biographer of Mountbatten, and his last biography, Captain James Cook, became a world bestseller.

    Out of nowhere, police begin finding victims whose bodies have been massacred who’ve been entirely drained of blood. When the government gets involved in the case, Riker sees his chance for a once-in-a-lifetime payday. Can the overweight, out-of-shape, private detective, Riker lead government agents to take on a rogue vampire splinter cell before they murder the royal family and take over the country? Despite himself, this aging, over-the-hill detective might be just the hero his nation needs.Enjoy this humorous free novella and join the crazy ride as London's finest Private detective, Harry Riker, is hot on the heels of the deathly vampires, and also hot on the heels of a vampire romance with the stunning Jane. With his unique brand of wit, bravado, brilliant use of dialogue and genuine likeable anti-hero roguish charm, Riker leads you through the edgy underbelly of London. This free novella will have you laughing out loud as you join in with the action, romance and mystery leaving you wanting more of the great private detective, Harry Riker.About the author: Mixing genres as only he can, London novelist Steven Loton’s latest book on the misadventures of everyone’s favorite private eye is a tour de force tornado of old-school noir fiction and today’s best supernatural thrillers, mixed with brilliant comedy, wit, this novella is a thrilling action packed ride. The author of the groundbreaking Kai-Me-Rah and Jungle Shark, Loton injects his gift for observation and razor-sharp action into the latest misadventures of Riker – who could be the city’s best detective, if only he could get out of his own way.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    But at what cost? In an age of increasing individualism, we have never been more alone and miserable. But what if the true nature of happiness can only be found in others? In Radical Happiness, leading feminist thinker Lynne Segal believes that we have lost the art of radical happiness-the art of transformative, collective joy. She shows that only in the revolutionary potential of coming together it is that we can come to understand the powers of flourishing. Radical Happiness is a passionate call for the re-discovery of the political and emotional joy that emerge when we learn to share our lives together.

    Continuously in print since 1932, Ortega's vision of Western culture as sinking to its lowest common denominator and drifting toward chaos brought its author international fame and has remained one of the influential books of the 20th century.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    The marketplace now operates through every hour of the clock, pushing us into constant activity and eroding forms of community and political expression, damaging the fabric of everyday life.Jonathan Crary examines how this interminable non-time blurs any separation between an intensified, ubiquitous consumerism and emerging strategies of control and surveillance. He describes the ongoing management of individual attentiveness and the impairment of perception within the compulsory routines of contemporary technological culture. At the same time, he shows that human sleep, as a restorative withdrawal that is intrinsically incompatible with 24/7 capitalism, points to other more formidable and collective refusals of world-destroying patterns of growth and accumulation.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    In setting performance art on an equal footing with the traditional art object, she heralds a new aesthetics.The peculiar mode of experience that a performance provokes - blurring distinctions between artist and audience, body and mind, art and life - is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes.With an introduction by Marvin Carlson, this translation of the original Asthetik des Performativen addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a new appreciation of the artistic event.