Bloody Carnival


Book Description

Step right up, step right up...it's a bloody good time! Rediscover carnivals, amusement parks, county fairs, the circus, rodeos and more in this gruesome tribute to the fun, fanfare and frivolity of festivals. Freak shows, rusted rides, demonic ringmistresses, demented clowns, melting beauty queens, flesh-eating fun-seekers, ghosts, gremlins and other terrors haunt the pages of this bloody collection of thirty-four short stories. Includes stories by the following authors: Darin Kennedy, Lee Pletzers, Chris Deal, Matt Kurtz, Eden Royce, Rob Rosen, Bruce Harris, Mindy MacKay, Stephanie Kincaid, David Greske, Stephanie L. Morrell, A.R. Norris, Tony Schaab, Marianne Halbert, Carnell, Frank Roger, Scott Taylor, Sylvia Spruck Wrigley, Scott Cole, Nicole Zoltack, Jack Horne, T.L. Perry, Shawn Cook, Jennifer Chambers, Jessica A. Weiss, Cherie Reich, Lorraine Horrell, Matthew S. Dent, Gregory L. Norris, Murphy Edwards, Kent Alyn, Robert Essig, Darren W Pearce & Neal Levin and Wayne Goodchild.




Blood in the City


Book Description

The Terror of 1793-94, the Paris Commune of 1871, the Dreyfus Affair—explosions of violence punctuated French history from the start of the Revolution until the Liberation at the close of World War II. The distinguished scholar Richard D. E. Burton here offers a stunningly original account of these outbursts, concluding that recourse to political violence was not occasional and abnormal, but rather the usual pattern, in French history. Instead of adhering to conventional chronological lines, Blood in the City is structured topologically around a number of major Parisian "sites of memory," including Place de la Concorde, Sacré Coeur, and the Eiffel Tower. For thirty years Burton has visited and revisited Paris, criss-crossing the streets on foot, and lived with great nineteenth- and twentieth-century literary depictions of the city. Drawing on historical, literary, visual, anthropological, and psychological sources, he develops a wide-ranging account of violence in modern French politics. In so doing, he provides powerful insights into political violence, scapegoating, the idea of sacrifice, and the widespread French obsession with conspiracy. Burton demonstrates that time and again the same basic scenario has been acted out on the streets of Paris: one or more people would be singled out from the community and imprisoned, exiled, or, more often, subjected to violence by the crowd or the state. In particular, he explores how Catholicism—in its extreme, ultrareactionary form—shaped the worldviews of Parisians and how the killing of a sacrificial victim came to be seen as a reenactment of the crucifixion of Christ.




Recreation


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The Public


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The Public


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Lost in the New West


Book Description

Lost in the New West investigates a group of writers – John Williams, Cormac McCarthy, Annie Proulx and Thomas McGuane – who have sought to explore the tensions inherent to the Western, where the distinctions between old and new, myth and reality, authenticity and sentimentality are frequently blurred. Collectively these authors demonstrate a deep-seated attachment to the landscape, people and values of the West and offer a critical appraisal of the dialogue between the contemporary West and its legacy. Mark Asquith draws attention to the idealistic young men at the center of such works as Williams's Butcher's Crossing (1960), McCarthy's Blood Meridian (1985) and Border Trilogy, Proulx's Wyoming stories and McGuane's Deadrock novels. For each writer, these characters struggle to come to terms with the difference between the suspect mythology of the West that shapes their identity and the reality that surrounds them. They are, in short, lost in the new West.




The World's Story


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The Blood Countess


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Two women separated by five hundred years, each with a secret - the infamous ‘Blood Countess’(1560-1614), notorious for bathing in the blood of six-hundred-and-fifty women in Renaissance Hungary and Transylvania; and the woman driven to re-write her story in the present - an academic who lives in and out of time because of a near death experience and who escapes ruin at the hands of rival scholars desperate to see her and her world destroyed at any cost. But Bathory’s story will be told! Not as a murderer or a dark witch, as history would have us believe today, but as a woman who became a subversive printer and smuggler of banned books, rocked the religious foundations of the Austro-Hungarian Empire with only a band of faithful refugee women to help her, and who’s revolutionary ideas would challenge even the Emperor himself! Bathory’s modern day chronicler becomes the cipher of this secret history, uncovering the real life of the Blood Countess. What she doesn’t know is that the Blood Countess is rewriting her across time... Based on 100s of hours of original historical research, this novel is a transformational account of not only of the infamous story of the so-called Blood Countess, but a searing exploration of what history is and what history does to women.




The historian between the ethnologist and the futurologist


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No detailed description available for "The historian between the ethnologist and the futurologist".




Fruits of Her Plume: Essays on Contemporary Russian Women's Culture


Book Description

The 1980s witnessed the ascendency of Russian women in multiple spheres of artistic creation, including literature, film, and painting. This volume may thus be said to engage not only women's artistic production but, indeed, the best and most colourful of recent Russian culture. Treating contemporary Russian women's creativity, it approaches women's texts, films, and canvasses from a range of perspectives, from anti-gendered to feminist. Some of the essays introduce writers not previously well studied, others challenge conventional interpretations and assumptions, while still others yield original viewpoints through novel juxtapositions. In addition to offering insights into the various artists under analysis, the essays map the wide terrain of issues and methodologies proliferating in cultural criticism today, and mirror the diversity that is one of the most appealing features of women's creativity in contemporary Russia.