Greetings all, I am the deity Anodyne, and this is my anthology. Many years ago I crafted the world Hollow, then I tethered it to Earth, allowing me to steal humans for my world. I did this over and over until I had enough to sustain a healthy population, eventually they started referring to themselves as Holites. Years went on, and my planet grew both in population and terror, as I filled it with nightmares from the minds of all my Holites. Harnessing the powers of chaos, I pulled their nightmares forth and laid them upon my world. Inside you will find my favorite stories that I have pulled from my world, stories of those who have the drive to survive.

Colorado Book Awards Finalist for Poetry Shortlisted for the Reading the West Poetry Book Award The poems that make up Anodyne consider the small moments that enrapture us alongside the daily threats of cataclysm. Formally dynamic and searingly personal, Anodyne asks us to recognize the echoes of history that litter the landscape of our bodies as we navigate a complex terrain of survival and longing. With an intimate and multivocal dexterity, these poems acknowledge the simultaneous existence of joy and devastation, knowledge and ignorance, grief and love, endurance and failure—all of the contrast and serendipity that comes with the experience of being human. If the body is a world, or a metaphor for the world, for what disappears and what remains, for what we feel and what we cover up, then how do we balance fate and choice, pleasure and pain? Through a combination of formal lyrics, delicate experiments, sharp rants, musical litany, and moments of wit that uplift and unsettle, Queen’s poems show us the terrible consequences and stunning miracles of how we choose to live.

This is a dystopian social science fiction novel and morality tale. The novel is set in the year 1984, a fictional future in which most of the world has been destroyed by unending war, constant government monitoring, historical revisionism, and propaganda. The totalitarian superstate Oceania, ruled by the Party and known as Airstrip One, now includes Great Britain as a province. The Party uses the Thought Police to repress individuality and critical thought. Big Brother, the tyrannical ruler of Oceania, enjoys a strong personality cult that was created by the party's overzealous brainwashing methods. Winston Smith, the main character, is a hard-working and skilled member of the Ministry of Truth's Outer Party who secretly despises the Party and harbors rebellious fantasies.

Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.

A Marxist analysis of key political and historical figures including Hugo Chavez and Jeremy Corbyn, Hillary Clinton and Donald Trump. Angels and Demons offers a series of profiles of historical figures both old and new. Using a Marxist analysis, the author adduces the particularities of each individual personality from the crest of living history which brings it to the fore, showing with each of the figures examined how the art, politics and creativity of their lives is infused by the rhythm and contradictions of the broader historical backdrop. The angels in the collection are Hugo Chavez, Andrea Dworkin, Rembrandt, Victor Hugo, Jeremy Corbyn and William Blake. The demons are Donald Trump, Christopher Hitchens, Arthur Schopenhauer and Hillary Clinton.

Against the Workshop is the first sustained critique of twenty-first century literary production in America under the MFA/creative writing program infrastructure. Since earlier critics like John Aldridge wrote on the subject, the creative writing regime has become vastly more institutionalized. Publishing has changed, but what does it mean for the quality of fiction and poetry? This book brings the subject completely up-to-date, by focusing on fiction and poetry generated during the last decade. The book contrasts the vast amount of sludge with the rare gems, to argue that the creative writing product is a debased one that will not stand the test of time.

Why have so many central and inner cities in Europe, North America and Australia been so radically revamped in the last three decades, converting urban decay into new chic? Will the process continue in the twenty-first century or has it ended? What does this mean for the people who live there? Can they do anything about it? This book challenges conventional wisdom, which holds gentrification to be the simple outcome of new middle-class tastes and a demand for urban living. It reveals gentrification as part of a much larger shift in the political economy and culture of the late twentieth century. Documenting in gritty detail the conflicts that gentrification brings to the new urban 'frontiers', the author explores the interconnections of urban policy, patterns of investment, eviction, and homelessness. The failure of liberal urban policy and the end of the 1980s financial boom have made the end-of-the-century city a darker and more dangerous place. Public policy and the private market are conspiring against minorities, working people, the poor, and the homeless as never before. In the emerging revanchist city, gentrification has become part of this policy of revenge.

This horror anthology is a remarkable collection that spans the gamut of the most chilling and macabre tales in English literature, from the eerie subtleties of psychological terror to the stark dread of the supernatural. The collection showcases a diverse range of literary styles, from the gothic to the modernist, encapsulating the evolution of horror as a genre across different periods. Standouts in the collection reveal the genre's capacity to explore the deepest fears of the human psyche, making manifest the anxieties of the times. The editors have meticulously curated works that not only entertain but also serve as a critical lens through which to examine the broader cultural and historical contexts from which these stories spring. The contributing authors and editors, hailing from varied backgrounds, bring a rich tapestry of cultural perspectives to the anthology, underscoring the universal appeal and adaptability of the horror genre. Figures such as Edgar Allan Poe and H.P. Lovecraft, whose work has defined and redefined horror literature, are presented alongside authors like Charlotte Perkins Gilman and Elizabeth Gaskell, who contribute uniquely feminist perspectives to the collection. This amalgam of voices aligns with notable literary movements, including Romanticism, Victorianism, and Modernism, providing readers with a comprehensive overview of the genre's evolution and its intersections with social and political issues. This anthology presents a unique opportunity for readers to engage with the horror genre in all its diversity and complexity. It encourages a deeper exploration of the themes of fear, the unknown, and the supernatural, showcasing how these themes resonate across different times and cultures. The collection is an invaluable resource for both aficionados of horror literature and those new to the genre, offering educational insights and prompts for further reflection. By fostering a dialogue between the works of different authors, this anthology serves not only as a testament to the enduring power of horror literature but also as an invitation to explore the shadows that linger in the human mind.

There were eccentric characters in the hotel. The Paris slums are a gathering-place for eccentric people—people who have fallen into solitary, half-mad grooves of life and given up trying to be normal or decent. Poverty frees them from ordinary standards of behaviour, just as money frees people from work. Some of the lodgers in our hotel lived lives that were curious beyond words. There were the Rougiers, for instance, an old, ragged, dwarfish couple who plied an extraordinary trade. They used to sell postcards on the Boulevard St Michel. The curious thing was that the postcards were sold in sealed packets as pornographic ones, but were actually photographs of chateaux on the Loire; the buyers did not discover this till too late, and of course never complained. The Rougiers earned about a hundred francs a week, and by strict economy managed to be always half starved and half drunk. The filth of their room was such that one could smell it on the floor below. According to Madame F., neither of the Rougiers had taken off their clothes for four years.