Tina is bored working in Sasaki Industries’ production department. The Japanese company manufacture sex toys and companion dolls, in England, for the high end of the market. Her job in quality control involves inspecting the products, like dildos, for flaws before they are packaged and dispatched to customers. The job pays well and because Tina hadn’t seen another job she fancied, she stayed on at Sasaki. She had been working at S.K.I. for over a year and was getting itchy feet. Then, she spotted an announcement on the Firm’s noticeboard. Fulltime Research Assistant Required. All female members of staff may apply. Interviews start on Friday. Contact Miss Evans in the Personnel Department. Tina wondered if the new job has something to do with trying out the company’s sex toys. At first, such a thought was enough to put her off applying. Then, after giving it some thought, Tina decides to take the plunge and find out for herself, just what goes on in the mysterious research and development department. What Tina doesn’t know is that Sasaki Industries want to make a new Companion Doll for the Asian market in her image. In this first part, Tina discovers that the company are far more interested in her body than her mind. Because this story involves descriptions of sexual and disciplinary situations, it is only suitable for mature adults over 18.

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival

The Twilight Zone is among the most beloved shows in American television history, a pioneering fantasy behemoth that bridged the cultural gap between the 1950s and 1960s with thought-provoking mystery, mind-boggling theorems, and occasionally outright horror. The Twilight Zone FAQ takes the reader back to that halcyon era, looking back on the show and its impact as a force for societal change, via reflections on the manifold topics and controversies that the show took on – from the space race to the Red Menace, from paranoia to madness and beyond. Dave Thompson traces the history of the show – from its earliest flowering in the mind of then-unknown Rod Serling through its slow birth, shaky beginning, and breathless five-season run – and he shows how it became the blueprint for so much of the fantasy television that has followed. Chapters deal with the comic books, novels, and many other spin-offs, including the movie, the TV revamps, and even the amusement park ride. In addition, this FAQ offers a full guide to every episode, providing details on the cast and music and pinpointing both the best and the worst of the series, all adding up to a brightly opinionated time machine that catapults the reader back to the true golden age of American television.

The author of Ventura and Zelzah follows up that critically acclaimed debut novel with Ventura and Winnetka, a stand-alone work that furthers the adventures of Douglas and his friends as they come of age in Southern California’s San Fernando Valley in the late 1970s. As seniors in high school, the gang spends their final year before college practicing crazy car stunts, getting high, obsessing about girls, passionately listening to the great rock and roll of the ’60s and ’70s, arguing about the Dodgers and the Lakers, and partying at the prom in powder blue tuxedos. From a West Hollywood porn theater to a punk rock club in Chinatown to the site of the Manson murders, the Valley boys also begin to spread their wings as they explore the city of Los Angeles, located “just over the hill” from where they live. Like Ventura and Zelzah, the stand-alone Ventura and Winnetka is a funny, poignant, and nostalgic coming-of-age tale about the relationships of teenagers on the verge of adulthood. The re-creation of the Valley culture of the late 1970s is palpable and magical.

In one volume, the New York Times–bestselling epic about hardship and female friendship in postwar Naples that has sold over five million copies. Beginning with My Brilliant Friend, the four Neapolitan Novels by Elena Ferrante follow Elena and Lila, from their rough-edged upbringing in Naples, Italy, not long after WWII, through the many stages of their lives—and along paths that diverge wildly. Sometimes they are separated by jealousy or hostility or physical distance, but the bond between them is unbreakable, for better or for worse. This volume includes all four novels: My Brilliant Friend; The Story of a New Name; Those Who Leave and Those Who Stay; and The Story of the Lost Child. “Imagine if Jane Austen got angry and you’ll have some idea of how explosive these works are.” —The Australian “Nothing you read about Elena Ferrante’s work prepares you for the ferocity of it.” —The New York Times “An enduring masterpiece.” —The Atlantic

The Daughters and Spirit of Harriet is a collection of poems, short stories, songs and excerpts from donors to honor the late Harriet Tubman, Nelson Mandela and Thomas Garrett. This literary piece has been written by various writers, artists and authors nationwide to express their love for humanity and willingness to give back, which is the true spirit of Harriet Tubman. Proceeds from this book are donated tooneof the largest medical center for children, in Northern California.

Journey into a world of horror beyond your wildest expectations: a large collection of 24 short stories by author, Tom Raimbault; a writer who delights in pushing the boundaries of macabre and horror. Witness the terror of being buried alive, a haunted pocket watch that torments its new owner, a disturbing mansion filled with grotesque paintings of clowns, a dark presence that resides in the furnace room, a family home that is suddenly under siege by a frightening stranger, and much more! Each story is a disturbing portrait that is guaranteed to cause nightmares of your own! A public gallery is now open for your reading pleasure; a world of the strange, the macabre and the bizarre! *********************************************** Review by Hayley Sale of My Love of Reading on May 9, 2011: "This book is fantastic, With 25 Stories I just found it great, I cannot wait until I can get a paperback copy as this is the type of book that you can read over and over again! And is handy to carry with you at all times as you will want to pick it up as often as you can!! I spent hours sat reading story after story and then snuck stories in between doing jobs!! I just love Tom's unique writing style and the Preface at the beginning of the book is almost like a story in itself. Tom has an incredible imagination and the way he conveys it to paper is just truely captivating. I could spend hours waffling on about each story but I feel that I would spoil too much for you - the reader. And I can't pick a favourite story either as it too close to call, Fear of Needles however had me gripped and I had to read it all in one go!! The stories in this book really get your mind going and no matter what your age make you want to ensure your feet are tucked inside your duvet and think about what it is that goes bump in the night!!! I must say that I'm very upset at not being one of those lucky co-workers that received emails baring the words 'Hello All'" ************************************************ Review by Kipp Poe Speicher on April 2, 2010: A unique Voice that needs to be heard! This book is an amazing read filled with stories that will have you fearing the unknown and the dark once more. Wrote in a voice that reminds me of the great lush movies of Vincent Price based on the works like Poe. Some of the short stories even intertwine with each other

"Oh no! Gwen's laid an egg, Steve's gone bonkers, Lily's about to be eaten and a tree just ran by - if this sounds like a normal day for you, then stop, find a shady spot down by the river and read this book. Here's a great Australian story for teaching kids about helping others in a healthy way."--Back cover.

This stunning collection of 60 stories--over a century's worth of the best Canadian literature by an extraordinary array of our finest writers--has been selected and is introduced by award-winning writer Jane Urquhart. Urquhart's selection includes stories by major literary figures such as Mavis Gallant, Carol Shields, Alistair MacLeod, and Margaret Atwood, and wonderful stories by younger writers, including Dennis Bock, Joseph Boyden, and Madeleine Thien. This collection is uniquely organized into five parts: the immigrant experience, urban life, family drama, fantasy and metaphor, and celebrating the past.

The frightening yet comic clown is one of the best and most enduring characters in literature, theater, television, and film. Across the centuries, from Shakespeare's Porter in Macbeth to Edgar Allan Poe's "Hop-Frog," or Stephen King's Pennywise, horror and comedy have blended to create the perfect recipe for entertainment. This volume gives an in-depth analysis of the clown horror genre, including essays by revered horror scholars such as Kevin Wetmore, Dale Bailey, Kim Hester Williams, Jennifer K. Cox, and Joanna Parypinski. Their essays cover topics such as nostalgia, race, class, and new portrayals of the scary clown as zombies or phantoms. It also offers interviews with actors and directors working in the clown horror genre: Eoghan McQuinn (Stitches), Kevin Kangas (Fear of Clowns), and Jaysen Buterin (Kill Giggles). Some of fiction's most terrifying creations--like the Killer Klowns, Captain Spaulding, Art the Clown, Krusty, Frowny, the Joker, and Twisty--jig through these pages of analysis and deconstruction, asking what these many iterations of scary clowns have to say about our society and its fears.