The summer of 1954 spelled disaster for a majority of Wheatfields 34,000 residents. Terror surfaced in this rural town of Fork County, Nebraska, and few of the residents survived. It was called the summer of the digging. Among the dead was the towns minister, Alex Balloon. But his wife, Jane, and their unborn son, Sam, survived. Wheatfield never regained its population, but a small pocket of survivors remain devout Christians, including Jane. But in secret, the others have committed themselves to the services of the Prince of Darkness, the Lord of the Flies, and ruler of all that is evil. It is often difficult to tell which residents stand for good and which stand for evil. Thirty years later, evil again hangs over Wheatfields populace. The phones are not working, vehicles are disabled, and a hot wind blows. The residents are afraid. A battle soon rages as the Prince of Darkness fights to gain the souls of the human race. A small pocket of Christians finds the strength to resist but only time will tell if their effort be enough to stave off the evil.

This book is about that transience: of animals, of seasons, even of plants. Like our first book, Fear of the Beast combines Elisabeth Sharp McKetta's poetry with Troy Passey's artwork. But this book is entirely its own animal. Unlike the first, it has a specter of a plot-line as we track a beast (or are tracked by one?) through a forest in the snow. In contrast to the restrained lines in our first book, here the poems shake off their harness and grow longer, at times wending a path over several pages. The art and the words play at the blurred line between ordinary and enchanted, how we inadvertently make myths, and how we are all interrupted by life as we never imagined it would be. Fear of the Beast looks at the idea of the animal--both self and other, human and humane--and examines how our collective fear and longing shapes our perceptions. Like any good book about beasts, our book is intended both for children and for adults. Our relationship with animals is complicated, both primal and mythic, whether we are eating animals, keeping animals as pets, or telling stories about animals that we are too afraid to tell of ourselves.

A plane crashes on a desert island and the only survivors, a group of schoolboys, assemble on the beach and wait to be rescued. By day they inhabit a land of bright fantastic birds and dark blue seas, but at night their dreams are haunted by the image of a terrifying beast. As the boys' delicate sense of order fades, so their childish dreams are transformed into something more primitive, and their behaviour starts to take on a murderous, savage significance. First published in 1954, Lord of the Flies is one of the most celebrated and widely read of modern classics. Now fully revised and updated, this educational edition includes chapter summaries, comprehension questions, discussion points, classroom activities, a biographical profile of Golding, historical context relevant to the novel and an essay on Lord of the Flies by William Golding entitled 'Fable'. Aimed at Key Stage 3 and 4 students, it also includes a section on literary theory for advanced or A-level students. The educational edition encourages original and independent thinking while guiding the student through the text - ideal for use in the classroom and at home.

The first book-length collaboration between author Elisabeth Sharp McKetta and artist Troy Passey, Fear of the Deep joins the atmospheric artwork of Passey with thirty poetic fragments by McKetta, resulting in a book on the theme of the ocean and how words become lifeboats. Fear of the Deep is a call to live with courage and beauty in the face of mortality, and for that reason we will donate 10% of proceeds to Suicide Prevention Action Network of Idaho.

Zusammenfassung: When a tiger suspects he is the beast the jungle animals are fleeing from, he returns to them and points out their similarities

Climbing on The Beast, an exciting new amusement park ride, Ashley longs for just one more ride, but when her car returns, and Ashley has disappeared, her best friends must get on…or Ashley may never find her way off.

The Beast is an animal You'd better lock the Gate Or when it's dark, It comes for you Then it will be too late Alys was the only one to see the soul eaters when they came to her village. The others were sleeping. They never woke up... Now, an orphan, Alys knows the full danger of the soul eaters. She's heard the nursery rhymes the chidren sing about the twin sisters who feed on souls. She's seen people disappear into the fforest and never come back. So why, then, does she find herself mysteriously drawn to the fforest? Is she what everyone around her says she is? A witch? Alys soon finds herself on a journey that will take her to the very heart of the fforest. There she must decide where true evil lies. And face the thing they call ... The Beast. A fairy tale with a difference: shivery, dark, and deeply satisfying. 'Read it if you loved The Handmaid's Tale' - Entertainment Weekly

Elliot has lived his first thirteen years confined to his home, incapacitated by fear. Now he’s out of pills, snow is falling, and his only safe person is missing. A terrifying thriller from Carnegie Medalist Kevin Brooks. From the moment of his birth, Elliot’s life has been governed by fear of almost everything, even of his own fear — a beast that holds him prisoner in his room. The beast is kept at bay, though not eliminated, with a daily regimen of pills. But on Christmas Eve, a mix-up at the pharmacy threatens to unleash the beast full force, and his mother must venture out in a raging snowstorm to a store that should be only minutes away. Hours later, when she still hasn’t returned, Elliot sees no choice but to push through his terror, leave the house, and hunt for her. What happens if the last of his medication wears off and the beast starts scratching at the doors of his mind? Everyone has a breaking point — will Elliot come to his? With plot twists and turns that keep readers on the edge of their seats, multi-award-winning author Kevin Brooks offers a high-suspense exploration of fear and what it means to truly be afraid.

The First World War is a watershed in the intellectual and spiritual history of the modern world. On the one hand, it brought an end to a sense of optimism and decency bred by the prosperity of nineteenth-century Europe. On the other, it brought forth a sense of futility and alienation that has since pervaded European thought. That cataclysmic experience is richly reflected in the work of writers and artists from both sides of the conflict, and this study provides a detailed analysis of two basic themes—death and degradation—that mark the literature about the war. From their accounts most men entered the war lightheartedly, filled with ideals of patriotism and glory, but these generous feelings were soon quelled as the war settled into a stalemate, its operations reduced to simply grinding away the opposing forces. In these operations, Alfredo Bonadeo shows, men became mere aggregations thrown against one another, wasted with no appreciable effects or gains, save carnage itself. This cheapening and disregard for human life and being Bonadeo finds rooted not only in the conditions of war but, significantly, in a contempt for the common man prevailing in European political and intellectual circles. This attitude is revealed most plainly in his analysis of the Italian literature, which hitherto has received little note. Italian leaders saw the war as an opportunity to expiate a sense of national guilt, and here the inconclusive campaigns made their futility all the greater. Out of the torn fields of the First World War grew the seeds of a second, greater conflict, but, Professor Bonadeo concludes, the flowering of the seeds was aided by the degradation of man's spirit on those fields. The grim focus of this book, the dead voices it evokes, leads to a new appreciation of the meaning of the Great War.