Black Mask, the greatest American detective magazine of all time is back with an all-new story by the creator of Doc Savage, Lester Dent. Also featuring classic hard-boiled detective stories by Horace McCoy, Wyatt Blassingame, Day Keene, Herbert Koehl, Kent Richards, Stephen McBarron, Dwight V. Babcock, Hugh B. Cave, and Edgar Franklin, all from the golden age of pulp fiction. With vintage brush illustrations by Arthur Rodman Bowker, as well as a previously-unpublished interview with the author of Donovan’s Brain, Curt Siodmak.

The greatest detective magazine of all time is back for another collection of the best in hard-boiled fiction. Featuring classic material from the vaults of Black Mask, Dime Detective, Detective Fiction Weekly, and other high-quality pulp magazines. This issue issue is headlined by an all-new story by Carroll John Daly, the creator of Race Williams.

A history of 1960s activist art group Black Mask. With Up Against the Real, Nadja Millner-Larsen offers the first comprehensive study of the group Black Mask and its acrimonious relationship to the New York art world of the 1960s. Cited as pioneers of now-common protest aesthetics, the group’s members employed incendiary modes of direct action against racism, colonialism, and the museum system. They shut down the Museum of Modern Art, fired blanks during a poetry reading, stormed the Pentagon in an antiwar protest, sprayed cow’s blood at the secretary of state, and dumped garbage into the fountain at Lincoln Center. Black Mask published a Dadaist broadside until 1968, when it changed its name to Up Against the Wall Motherfucker (after line in a poem by Amiri Baraka) and came to classify itself as “a street gang with analysis.” American activist Abbie Hoffman described the group as “the middle-class nightmare . . . an anti-media phenomenon simply because their name could not be printed.” Up Against the Real examines how and why the group ultimately rejected art in favor of what its members deemed “real” political action. Exploring this notorious example of cultural activism that rose from the ruins of the avant-garde, Millner-Larsen makes a critical intervention in our understanding of political art.

In Black Girl Autopoetics Ashleigh Greene Wade explores how Black girls create representations of themselves in digital culture with the speed and flexibility enabled by smartphones. She analyzes the double bind Black girls face when creating content online: on one hand, their online activity makes them hypervisible, putting them at risk for cyberbullying, harassment, and other forms of violence; on the other hand, Black girls are rarely given credit for their digital inventiveness, rendering them invisible. Wade maps Black girls’ everyday digital practices, showing what their digital content reveals about their everyday experiences and how their digital production contributes to a broader archive of Black life. She coins the term Black girl autopoetics to describe how Black girls’ self-making creatively reinvents cultural products, spaces, and discourse in digital space. Using ethnographic research into the digital cultural production of adolescent Black girls throughout the United States, Wade draws a complex picture of how Black girls navigate contemporary reality, urging us to listen to Black girls’ experience and learn from their techniques of survival.

Horror, no matter the medium, has always retained some influence of philosophy. Horror literature, cinema, comic books and television expose audiences to an "alien" reality, playing with the logical mind and challenging "known" concepts such as normality, reality, family and animals. Both making strange what was previously familiar, philosophy and horror feed each other. This edited collection investigates the intersections of horror and philosophical thinking, spanning across media including literature, cinema and television. Topics covered include the cinema of David Lynch; Scream and Alien: Resurrection; the relationships between Jorge Luis Borges and H. P. Lovecraft; horror authors Blake Crouch and Paul Tremblay; Indian film; the television series Atlanta; and the horror comic book Dylan Dog. Philosophers discussed include Julia Kristeva, George Berkeley, Michel Foucault, and the Cybernetic Culture Research Unit. Using philosophies like posthumanism, Afro-Pessimism and others, it explores connections between nightmare allegories, postmodern fragmentation, the ahuman sublime and much more.

Cover -- Half-title -- Title -- Copyright -- Contents -- Acknowledgments -- Preface -- Regional map -- Introduction -- Physical coast -- Weather and water -- Human history -- Shallows -- Depths -- Beaches and dunes -- Rocky shores -- Salt marshes -- Coastal forests -- Connecticut locations -- New York locations -- Bibliography -- Illustration Credits -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- V -- W -- Y

"I love every aspect of this amazing book—a genderfluid hero, a deadly contest, and vicious courtly intrigue. Get! Read! Now!" —Tamora Pierce, #1 New York Times bestselling author I needed to win. They needed to die. Sallot Leon is a thief, and a good one at that. But gender fluid Sal wants nothing more than to escape the drudgery of life as a highway robber and get closer to the upper-class—and the nobles who destroyed their home. When Sal steals a flyer for an audition to become a member of The Left Hand—the Queen's personal assassins, named after the rings she wears—Sal jumps at the chance to infiltrate the court and get revenge. But the audition is a fight to the death filled with clever circus acrobats, lethal apothecaries, and vicious ex-soldiers. A childhood as a common criminal hardly prepared Sal for the trials. And as Sal succeeds in the competition, and wins the heart of Elise, an intriguing scribe at court, they start to dream of a new life and a different future, but one that Sal can have only if they survive. This heart-pounding YA story of magic, danger, and revenge is perfect for readers looking for: epic books for tweens and teens gay and lesbian fantasy and science fiction gripping stories with queer and gay magic and sorcery gender fluid representation and gender diversity dazzling world-building and relatable characters Praise for Mask of Shadows: A Bustle Most Anticipated YA of 2017! "Compelling and relatable characters, a fascinating world with dangerous magic, and a dash of political intrigue: Mask of Shadows completely delivered. Fantasy fans will love this book."—Jodi Meadows, New York Times bestselling coauthor of My Lady Jane "An intriguing world and a fantastically compelling main character make for a can't-miss debut. Miller's Mask of Shadows will make you glad you're not an assassin—and even gladder Sal is."—Kiersten White, New York Times bestselling author of And I Darken and Now I Rise "It is fabulous. Go forth and read the Hunger Games-like craftiness and intensity, Kaz Brekker-ish determination and moral questionability, and utterly charming romance." — LGBTQ Reads "Uber bloody and action packed, Mask of Shadows is the book for anyone who loves a heavy dose of grit and gore with their fantasy." — TeenVogue.com Don't miss the highly anticipated second book in the Mask of Shadows duology, Ruin of Stars, and Linsey Miller's standalone YA fantasy Belle Révolte, both available now!

Lily likes to wear the cat mask that her father bought for her, but she isn't allowed to wear it in school until her class has a costume party, where she makes a new friend.

This edited volume draws together educators and scholars to engage with the difficulties and benefits of teaching place-based education in a distinctive culture-laden area in North America: the United States South. Despite problematic past visions of cultural homogeneity, the South has always been a culturally diverse region with many historical layers of inhabitation and migration, each with their own set of religious and secular relationships to the land. Through site-specific narratives, this volume offers a blueprint for new approaches to place-based pedagogy, with an emphasis on the intersection between religion and the environment. By offering broadly applicable examples of pedagogical methods and practices, this book confronts the need to develop more sustainable local communities to address globally significant challenges.

The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre. Among these are aimless descriptions of people and places irrelevant to plot, along with detectives consisting of little more than sparkling dialogue and flippant attitudes. What weaves together such features, however, seems to be a paradox: that a genre rooted in solving a mystery, structured around the gathering of clues, must do so by misdirecting our attention, even withholding information we think we need to generate the suspense we also desire. Yet successful noir stories and films enhance that suspense through passing diversions (descriptive details and eccentric perspectives) rather than depending on the center pieces of plot alone (suspected motives or incriminating traces). As the greatest practitioners of the genre have realized, the how of detective fiction (its stylistic detours) draws us in more insistently than the what or the who (its linear advance). And the achievement of recent film noir is to make that how become the tantalizing object of our entire attention, shorn of any pretense of reading for the plot, immersing us in the diversionary delight that has animated the genre from the beginning.