Key Features: *Study methods *Introduction to the text *Summaries with critical notes *Themes and techniques *Textual analysis of key passages *Author biography *Historical and literary background *Modern and historical critical approaches *Chronology *Glossary of literary terms

    The complete translation, from the Greek of A. O. Prickard's Oxford text, features an introduction by Grube, establishing the historical and critical context of the work, and a biographical index.

    Each tale is sordid, twisted, and worthy of newspaper headlines. Among the killers in this book, you will read about: - Christine Paolilla, a teen who turned a gun on the very friends who had rescued her from being bullied and tormented daily - Ronald Gene Simmons, who slaughtered 16 family members, including his daughter and the child they conceived together - Susan Hendricks, who murdered her family, then attempted to frame one of the sons she had brutally shot to death By weaving a tale in which Dark Fantasies Turned Reality, this book invites you to see life from a perspective few ever witness— that of the killer. Paired with an in-depth account of each case, it will be a nightmarish journey to the darkest reaches of the minds of these real-life murderers! Get your copy today and explore the shocking realities that came from their — Murderous Minds!

    With him is his junior colleague Giles Bradbury, a ladies’ man who is intrigued by Tom’s policy of never accepting the assertions of others until he has investigated them for himself. Tom has grounds for suspecting that this is no suicide, and when he and Giles make further enquiries regarding the furtive activities of a man recently arrived at a local inn, they are set upon by three men who become their main targets in their investigation. Then just as they are about to make arrests, they receive a visit from a shadowy figure who claims to be acting on royal authority, and they are diverted from a simple murder enquiry into an intrigue with grave implications for the welfare of Queen Elizabeth and the nation.

     She has the soft, rosy cheeks. She even has that adorable smile. DO NOT BE FOOLED. Underneath is something else. Something evil. Something that does not belong in this world. And Oscar has no idea...

    So, as you will see, you being here will be quite a treat for all of the monsters. While some of the monsters will love your company in their quaint little world, there are others that may not take too kindly to seeing you. The royal guard will see you don’t live long if they catch you. You’ll be faced with countless trials and tasks in the Underground, and just like in the human world, you’ll have choices to make when you face these trials. Do you run, or do you fight? Do you hide in a closet, or do you eat the cheese that you found in your coat pocket from last year?

    But others have not been so lucky. Young Ella Cotter, an innocent child, finds herself tormented by a ghost Paul unwittingly freed when he escaped the building's haunted grounds. As Paul attempts to use hypnosis to separate the child from the tortured entity that clings to her soul, blood runs in the streets. A series of mysterious killings rocks the nearby city of Tynecastle. And Paul is convinced the violent incidents are linked to Dr. Palmer, a sadistic wraith, who once turned Rookwood into an asylum of horrors. Working with the local police, and a rare book dealer with an interest in the occult, Paul and his allies soon find themselves face to face with an enemy unlike anything they have ever imagined. This terrifying evil force grows more powerful with each victim it kills. And the only way to stop it may cost Paul his mortal soul…

    She shows us that this most intellectual of poets is in fact the most personal of poets; that his words are not devoted to epistemological questions alone but are also "words chosen out of desire."

    You will feel at home eating your own heart off a commemorative plate featuring a picture of your corpse.You won't learn anything except that, "No one can do anything to you that's worse than what you're already thought to yourself. No one can do anything worse to you than the things you've already done. No one can do anything worse to you than you can."

    

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Dick, UrsulaK. LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson, and more.Jameson’s essential essays, including “The Desire Called Utopia,”conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

    In Poetic Justice, one of our most prominent philosophers explores how the literary imagination is an essential ingredient of just public discourse and a democratic society.

    When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.

    The linking of psychosomatic to literary and literary to a larger political horizon raises the question of conservative premises to linguistic, pyschoanalystic, philisophical, and literary theories and criticisms of such.