The continuing voyages of the Starship Excalibur! Many years ago, a bizarre alien life-form known as the Black Mass consumed and destroyed an entire solar system in what was then the Thallonian Empire. Now the Black Mass has returned and its target is Tulan IV, homeworld of the fearsome Redeemers. Faced with near-certain destruction, the Overlord of the Redeemers is forced to turn to an unlikely ally: Captain Calhoun and the Starship Excalibur. Busy coping with the return of his rebellious son, Calhoun is none too eager to come to the aid of his despotic enemy, but when innocent lives are threatened he has no choice but to confront the unstoppable Black Mass. But how can one starship turn back a force capable of consuming entire suns?

Mysterious space raiders are threatening the joint Federation-Klingon colony on the remote planet of Dantar, and pitting the two sides against each other. Worf and his fellow first year cadets -- Zak, Tania, Soleta, and Mark -- have accompanied their teacher to observe the negotiation process, but soon find themselves in the middle of an intergalactic dispute.

It's hard to find a lesser man than Apropos: a con man, a knave, a scalawag...and those are his finer points. This time, Apropos winds up a stranger in a strange land called "Chinpan," populated by those who speak a different language and live by a code of honor, neither of which Apropos can comprehend. And yet it is here that he begins to examine his life and question whether he can aspire to become more than the hard-bitten cynic he's always been. He may yet be able to find a happy ending among a gentle people who are willing to accept him, faults and all, and he acquires a teacher who may even be able to set him on a road to true enlightenment. But events conspire to pull Apropos in unexpected and dangerous directions, for his presence in Chinpan does not go unnoticed. What does the mysterious criminal organization known as the Forked Tong want with him? How do their plans tie in or conflict with the criminal Skang Kei family, and their enigmatic leader, Skang Kei Ho? What of the Mingol hordes? And what will be the fate of the Chin clan, including Double Chin, Cleft Chin, Kit Chin, and little Kit Chinette?

Book by Demetz, Peter

This first volume of Cambridge Medieval Classics offers the text of nine of the most outstanding plays composed and performed in the eleventh and twelfth centuries, the period of the finest flowering of medieval Latin drama. Newly edited and translated, the texts are given in both Latin and English, with detailed notes and apparatus to aid interpretation. They are selected to represent the range of dramatic achievement between about 1050 and 1180, when the use of sung play-texts, within a context of liturgical ceremony as well as for secular entertainment, was at its peak. The plays chosen are boldly inventive and compellingly imaginative, revealing the depth and range of the medieval dramatic mind. Included are works from France and Germany, a piece by Hildegard of Bingen, and the Passion Play from the Carmina Burana.

Edited By William V. D'Antonio And Howard J. Ehrlich. Foreword By John Useem.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A revelatory work that examines the intricate relationship between history and literature, truth and fiction—with some surprising conclusions. Focusing on three literary masterpieces—Charles Dickens's Bleak House (1853), Gustave Flaubert's Madame Bovary (1857), and Thomas Mann's Buddenbrooks (1901)—Peter Gay, a leading cultural historian, demonstrates that there is more than one way to read a novel. Typically, readers believe that fiction, especially the Realist novels that dominated Western culture for most of the nineteenth century and beyond, is based on historical truth and that great novels possess a documentary value. That trust, Gay brilliantly shows, is misplaced; novels take their own path to reality. Using Dickens, Flaubert, and Mann as his examples, Gay explores their world, their craftsmanship, and their minds. In the process, he discovers that all three share one overriding quality: a resentment and rage against the society that sustains the novel itself. Using their stylish writing as a form of revenge, they deal out savage reprisals, which have become part of our Western literary canon. A New York Times Notable Book and a Best Book of 2002.

"Peter Godwin's mother is dying. Born in England, and having spent most of her adult life as a doctor in Zimbabwe, she now lies on a hospital bed in the partitioned living room of his sister's London home. Peter has spent his life missing his Zimbabwean childhood, a longing that does not diminish as he reflects on his time as a journalist on the frontlines of combat around the world, or life in New York with his English wife and transatlantic children. In his mother's final months, he must come to terms with everything his family was and wasn't: the secrets they kept from one another, the stoicism that sometimes threatened to destroy them, and the beauty of the wildly different places they called home. With generations of history behind him, Godwin lyrically brings us into the spaces which make us question and suffer, shows us how we can heal our own scars, and celebrate the lives we have among family and friends" -- Publisher's description.

The wicked, the selfish and the violent, are - according to Peter Hitchens - freer from restraint than they have been since the age of Charles Dickens. In this brilliantly argued book, Hitchens warns that our current approaches to law and order threaten the personal freedoms of the peaceable majority, while failing to reduce crime. This country, he argues, must choose between the supposed human rights of wrongdoers and the liberty of all. His powerful and counter-intuitive conclusions make challenging - and essential - reading for both those on the Left and the Right.

Was World War II really the `Good War'? In the years since the declaration of peace in 1945 many myths have sprung up around the conflict in the victorious nations. In this book, Peter Hitchens deconstructs the many fables which have become associated with the narrative of the `Good War'. Whilst not criticising or doubting the need for war against Nazi Germany at some stage, Hitchens does query whether September 1939 was the right moment, or the independence of Poland the right issue. He points out that in the summer of 1939 Britain and France were wholly unprepared for a major European war and that this quickly became apparent in the conflict that ensued. He also rejects the retroactive claim that Britain went to war in 1939 to save the Jewish population of Europe. On the contrary, the beginning and intensification of war made it easier for Germany to begin the policy of mass murder in secret as well as closing most escape routes. In a provocative, but deeply-researched book, Hitchens questions the most common assumptions surrounding World War II, turning on its head the myth of Britain's role in a `Good War'.

Denial [Paperback] Peter James

Ross Ransom is at the top of his profession; one of the most successful, and certainly one of the richest, plastic surgeons in the business. Such a man would expect his wife to be perfect � and why not? After all he has spent enough hours in surgery to get her that way. But when his wife falls ill she turns her back on conventional medicine and her arid marriage to Ransom and seeks help from the world of alternative medicine and a charismatic therapist who promises not just medical salvation. For Ransom this is the ultimate betrayal. It defies logic and Ross Ransom is a profoundly logical man and, logically, he can see no reason why any man should have his wife if he can�t. Ross Ransom is about to embark on a very rational course of action, murderously rational. Peter James has written a terrifying thriller that shows what happens when our faith in medicine goes out of control.

When Alex Hightower's teenage sone, Faibian, dies in a car crash, she is devastated. Hurt as she is, Alex tries to accept that Fabian is gone forever. But then strange events begin to occur in her home: rooms turn freezing cold, furniture moves by itself and the bathroom begins to sweat. Worse follows: the words "Help me, Mother" appear on her computer screen, Fabian's face eerily shows up in photos developed after his death, and his voice speaks from the mouths of Alex's male guests. Terrified by these happenings, Alex consults a medium. A seance reveals that Fabian is an unhappy spirit who wants to come back to life. Haunted by her son's spirit, Alex is consumed by her search for answers. As she begins to uncover terrifying secrets about Fabian's past, she comes to realize that her own life is in danger. With horror, Alex discovers that somehow, she must free herself from her son's spirit--before it takes possession of her own.

Suspense fiction. A terrifying novel of suspense and the supernatural.

A collection of politically charged strips, by the award winning cartoonist Peter Kuper, that stare into the gaping jaws of hypocrisy and, without blinking, punch them in the funny bone. Topsy Turvy, an 80-page softbound collection, includes political cartoons that have appeared in Time Magazine, The New York Times opinion page, The Nation, and The New York Daily News, among others.