Hime, Kyoko, and Nozomi shadow Suu while she is out on a date, and happen to run into some other classmates out on a date as well. We learn more tales of Hime's ancestors, and the class prez frets about child-rearing, all in Volume 8!

Centaur girl Hime and her adorable cousin Shino, along with their catfolk, angelfolk, and other friends, pose the following question: are the legendary weretigers truly extinct? In the meantime, a battle of the home-makers ensues, while some serious father-daughter time is in order. Plus: mysterious aliens have arrived!

Even though Hime and her friends live in an enlightened era where equality among all sentient creatures rules the day, there are harsh reminders that things weren't always this way. As the girls struggle with their plans for the future, Shino-chan learns important lesson about empathy for a creature smaller than herself. A Centaur's Life continues!

After Kimihito's ever-growing harem of monster girls accidentally destroys his house, Agent Smith shuttles everyone off to a hot springs resort, where the baths are built for monster girls of all shapes and sizes...and they're mixed gender! Will the girls keep their hands off Kimihito, or will they wind up breaking the Interspecies Cultural Exchange law--not to mention Kimihito's bones?

WINNER OF THE NATIONAL BOOK AWARD AND THE PRIX DU MEILLEUR LIVRE ÉTRANGER The Centaur is a modern retelling of the legend of Chiron, the noblest and wisest of the centaurs, who, painfully wounded yet unable to die, gave up his immortality on behalf of Prometheus. In the retelling, Olympus becomes small-town Olinger High School; Chiron is George Caldwell, a science teacher there; and Prometheus is Caldwell’s fifteen-year-old son, Peter. Brilliantly conflating the author’s remembered past with tales from Greek mythology, John Updike translates Chiron’s agonized search for relief into the incidents and accidents of three winter days spent in rural Pennsylvania in 1947. The result, said the judges of the National Book Award, is “a courageous and brilliant account of a conflict in gifts between an inarticulate American father and his highly articulate son.”

Alexander Carter, after finding a key that transports him to the land of childhood dreams, enters Dreamland every night to discover dragons, fairies, and giants and save Dreamland from the realm of nightmares with his friends Paddington, Kiwi, and Nastajia.

Describes centaurs found in folklore, presents a graphic retelling of Hercules and the centaurs, and provides summaries of other tales featuring these mythical creatures.

A Centaur's Life is an ongoing manga series with a wholly unique take on the slice-of-life genre-it focuses on the daily school life of supernatural creatures. A CENTAUR IN DISGUISE Hime, Kyoko, and Nozomi shadow Suu while she is out on a date, and happen to run into some other classmates out on a date as well. We learn more tales of Hime’s ancestors, and the class prez frets about child-rearing, all in Volume 8!

Introduction to: ESOTERIC ASTROLOGY - VOL. 8 THE SOUL’S PURPOSE, CASES 17 -33 By Dr. Douglas M. Baker This very important work is based on an analysis of the horoscope, placing emphasis on the Rising Sign as it expresses the Soul’s Purpose and its nuances. Thus, the universal approach is yet maintained but brought to bear on the specific or existential features of the individual’s horoscope. Via 17 detailed analyses in this volume, the earnest student or professional astrologer is given in-depth information regarding Karma, previous lives, chakras, myth, objects for meditation, the Ray of the Soul and of course, the Soul’s purpose for the personality. (Vol. 7 treats cases 1 – 16.) The introductory section explains: Symbols and Methods used Planetary Rulers Chart Interpretation Permutations in Basic Symbols Compound Complexes The Rising Sign House Cusps Sun — Earth Opposition Astrological Parsing Literal Parsing Aspects Use of Angular Aspects Planet — Sign — House Influences Intercepted Signs Retrograde Planets Karmic Indications in the Horoscope Whilst esoteric astrology is primarily concerned with the hegemony of the soul as it progressively asserts itself in the life of the individual, it is also capable of providing the personality with direction and useful advice. When we are dealing with Man on the Path, a far, far more accurate an interpretation of his situation, its potentials and limitations for expression is given here by using the esoteric rulers of the Signs of the Zodiac as demonstrated in esoteric astrology. The development of the computer has made the horoscope available to the millions, and it is but a matter of time before the same computers begin to sieve out the “real from the unreal.” In the end, however, the real is only discovered within, and the fullest exposition of esoteric astrology gives the keys to such discoveries within and their correlation to wide and more universal principles. To ignore the individual horoscope is to leave astrology, esoteric or exoteric, with feet of clay. What this writing represents is a wiser and more psychosynthetic interpretation of the horoscope. Thus, providing the interpreter views the horoscope from a point of higher synthesis, the most accurate interpretation of a personality matter may be gauged from particular astrological aspects. Bailey herself, or the Tibetan Master through her, gave the key to the psychosynthetic approach by allocating esoteric rulerships to the Signs for Man on the Path and a further set of rulers, called “hierarchical”, which apply to those disciples who are initiate and engaged in the work of the Hierarchy of this planet, as It implements the Divine Plan for the Earth.

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.