Grendel’s black blood runs thick as Beowulf defeats the monster and his hideous mother, while somber hues overcast the hero’s final, fatal battle against a raging dragon. Speeches filled with courage and sadness, lightning-paced contests of muscle and will, and funeral boats burning on the fjords are all rendered in glorious and gruesome detail. Told for more than a thousand years, Beowulf’s heroic saga finds a true home in this graphic novel edition.

    The story tells of Gilgamesh’s adventures with the wild man Enkidu, and of his arduous journey to the ends of the earth in quest of the Babylonian Noah and the secret of immortality. Alongside its themes of family, friendship and the duties of kings, the Epic of Gilgamesh is, above all, about mankind’s eternal struggle with the fear of death.The Babylonian version has been known for over a century, but linguists are still deciphering new fragments in Akkadian and Sumerian.

    The poem was inspired by Germanic and Anglo-Saxon oral tradition recounting the exploits of Beowulf, the hero who gave his name to the poem. Here, it's transcribed as a verse epic, onto which are grafted Christian additions.

    We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Whitechapel murders of 1888. Weighing in at 576 pages, From Hell is certainly the most epic of Moore's works and remarkably and is possibly his finest effort yet in a career punctuated by such glorious highlights as Watchmen and V for Vendetta. Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. His Ripper's brutal activities are the epicentre of a conspiracy involving the very heart of the British Establishment, including the Freemasons and The Royal Family. A popular claim, which is transformed through Moore's exquisite and thoroughly gripping vision, of the Ripper crimes being the womb from which the 20th century, so enmeshed in the celebrity culture of violence, received its shocking, visceral birth. Bolstered by meticulous research that encompasses a wide spectrum of Ripper studies and myths and coupled with his ability to evoke sympathies in such monstrous characters, Moore has created perhaps the finest examination of the Ripper legacy, observing far beyond society's obsessive need to expose Evil's visage. Ultimately, as Moore observes, Jack's identity and his actions are inconsequential to the manner in which society embraced the Fear: "It's about us. It's about our minds and how they dance. Jack mirrors our hysterias. Faceless, he is the receptacle for each new social panic." Eddie Campbell's stunning black and white artwork, replete with a scratchy, dirty sheen, is perfectly matched to the often-unshakeable intensity of Moore's writing. Between them, each murder is rendered in horrifying detail, providing the book's most unnerving scenes, made more so in uncomfortable, yet lyrical moments as when the villain embraces an eviscerated corpse, craving understanding; pleading that they "are wed in legend, inextricable within eternity". Though technically a comic, the term hardly begins to describe From Hell's inimitable grandeur and finesse, as it takes the medium to fresh heights of ingenuity and craftsmanship. Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. —Danny Graydon

    It is an unforgettable story of survival and a disarming look at the legacy of trauma.

    Tolkien and Seamus Heaney to a multitude of Hollywood screenwriters. Beaowulf tells of the tale of a Scandinavian hero in lands that would become what is now Denmark and Sweden. A monster, Grendel, has arrived in the kingdom of the Danes, devouring its men and women for over a decade until Beowulf arrives to save them.Garcia and Rubin faithfully follow the original story for a graphic-novel version that is neither revisionist nor postmodern. It captures the tone and important details of the poem, translating its potent, epic resonance and melancholy into a contemporary comic that isn't standard swords and sorcery or heroic fantasy fare. This is an ancient story with a modern perspective that respects the source material.

    In the Inferno, Dante not only judges sin but strives to understand it so that the reader can as well. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing both the poem’s line-by-line vigor and its allegorically and philosophically exacting structure, yielding an Inferno that will be as popular with general readers as with teachers and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.Esolen also provides a critical Introduction and endnotes, plus appendices containing Dante’s most important sources—from Virgil to Saint Thomas Aquinas and other Catholic theologians—that deftly illuminate the religious universe the poet inhabited.

    The first and most terrifying monster in English literature, from the great early epic Beowulf, tells his side of the story in a book William Gass called "one of the finest of our contemporary fictions."

    Taking advantage of the absolute latest advances in wood pulp technology, Building Stories is a book with no deliberate beginning nor end, the scope, ambition, artistry and emotional prevarication beyond anything yet seen from this artist or in this medium, probably for good reason.

    With The Walking Dead #1-48, this compendium features more than one thousand pages chronicling the start of Robert Kirkman's Eisner Award-winning story of zombie horror, from Rick Grimes waking up alone in a hospital, his band of survivors seeking refuge on an isolated farm and the controversial introduction of Woodbury despot, The Governor.

    Tezuka evidences his profound grasp of the subject by contextualizing the Buddha’s ideas; the emphasis is on movement, action, emotion, and conflict as the prince Siddhartha runs away from home, travels across India, and questions Hindu practices such as ascetic self-mutilation and caste oppression. Rather than recommend resignation and impassivity, Tezuka’s Buddha predicates enlightenment upon recognizing the interconnectedness of life, having compassion for the suffering, and ordering one’s life sensibly. Philosophical segments are threaded into interpersonal situations with ground-breaking visual dynamism by an artist who makes sure never to lose his readers’ attention.Tezuka himself was a humanist rather than a Buddhist, and his magnum opus is not an attempt at propaganda. Hermann Hesse’s novel or Bertolucci’s film is comparable in this regard; in fact, Tezuka’s approach is slightly irreverent in that it incorporates something that Western commentators often eschew, namely, humor.

    An occultist accidentally traps Morpheus, the embodiment of Dreams, and holds him for 70 years. Finally free, Morpheus seeks his lost objects of power and rediscovers his place in the universe.

    R. Martin! An adaptation of Martin's hit novel, bringing the world of A Song of Ice and Fire to life in comic book form. Night falls over the life of one noble knight and brings the dawn of his squire's knighthood. Dubbing himself "Ser Duncan the Tall," "The Hedge Knight" sets forth to the tourney at Ashford Meadow in search of fame and glory and the honor of upholding his oath as a knight of the Seven Kingdoms. Unfortunately for him, the world isn't ready for a knight who keeps his oaths, and his chivalrous methods could be the very cause of his demise.

    Set in two distinct time periods, prepare to travel back to medieval times and learn the tragic back-story of the Piper family, a medieval-era family of traveling minstrels. Then, jump into the present to follow a tale of espionage as Peter Piper slowly hunts down his evil brother for a heinous crime, pitting Peter's talents as a master thief against Max's dark magical powers.Based on the long-running and award-winning comic book series Fables, Peter & Max is its own tale. Readers don't have to be familiar with the comics to fully enjoy and understand this book.

    As always, Gorey's painstakingly cross-hatched pen and ink drawings are perfectly suited to his oddball verse and prose. The first book of 15, "The Unstrung Harp," describes the writing process of novelist Mr. Clavius Frederick Earbrass: "He must be mad to go on enduring the unexquisite agony of writing when it all turns out drivel." In "The Listing Attic," you'll find a set of quirky limericks such as "A certain young man, it was noted, / Went about in the heat thickly coated; / He said, 'You may scoff, / But I shan't take it off; / Underneath I am horribly bloated.' "Many of Gorey's tales involve untimely deaths and dreadful mishaps, but much like tragic Irish ballads with their perky rhythms and melodies, they come off as strangely lighthearted. "The Gashlycrumb Tinies," for example, begins like this: "A is for AMY who fell down the stairs, B is for BASIL assaulted by bears," and so on. An eccentric, funny book for either the uninitiated or diehard Gorey fans.Contains: The Unstrung Harp, The Listing Attic, The Doubtful Guest, The Object Lesson, The Bug Book, The Fatal Lozenge, The Hapless Child, The Curious Sofa, The Willowdale Handcar, The Gashlycrumb Tinies, The Insect God, The West Wing, The Wuggly Ump, The Sinking Spell, and The Remembered Visit.