In the post-apocalypse, paradise can’t last for long in... THE RISE AND FALL OF GOLGONOOZA! A secluded suburban community is the last thing Maceo and Mezzy expected to find, especially one so well-preserved and well-stocked. As more people come to reside in this settlement called Golgonooza, it flourishes, and becomes a home for Mezzy and Maceo, just as they become home to each other. However, the cracks in Maceo and Mezzy’s oasis turn to chasms as their relationship stability (and that of the community) faces its first disasters! What Maceo felt for Mezzy eventually turns to terror as he doubts if he ever knew her in the first place, and even begins to fear her. The chasm between them grows–quite literally–as Golgonooza’s foundation crumbles and bubbles with a strange poison gas... New York Times bestselling, Eisner and Harvey Award-winning writer Jason Aaron (Thor, Star Wars: Darth Vader) is joined by acclaimed artist Leila del Duca (Wonder Girl: Homecoming) in the second chapter of his ambitious post-apocalyptic original series! Collects Once Upon a Time at the End of the World #6-10.

Set against the tumultuous political backdrop of late ’60s Chicago, My Favorite Thing Is Monsters is the fictional graphic diary of 10-year-old Karen Reyes, filled with B-movie horror and pulp monster magazines iconography. Karen Reyes tries to solve the murder of her enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to Anka’s life in Nazi Germany, the reader discovers how the personal, the political, the past, and the present converge.

Our fear of the world ending, like our fear of the dark, is ancient, deep-seated and perennial. It crosses boundaries of space and time, recurs in all human communities and finds expression in every aspect of cultural production - from pre-historic cave paintings to high-tech computer games. This volume examines historical and imaginary scenarios of apocalypse, the depiction of its likely triggers, and imagined landscapes in the aftermath of global destruction. Its discussion moves effortlessly from classic novels including Aldous Huxley's Brave New World, George Orwell's Nineteen Eighty-Four and Margaret Atwood's Oryx and Crake, to blockbuster films such as Blade Runner, Armageddon and Invasion of the Body Snatchers. Lisboa also takes into account religious doctrine, scientific research and the visual arts to create a penetrating, multi-disciplinary study that provides profound insight into one of Western culture's most fascinating and enduring preoccupations.

Many a nation has walked God’s earth, has long enjoyed its good things, has come into being and passed away, without our knowing anything of its history, or even whether it had a history at all. For no nation has a history except one that makes history, that is to say, that influences the course of human development. It is with races as with individuals; none is kept in mind by posterity save those who have distinguished themselves by ideas that have modified the life of mankind, or (which comes to the same thing) have been pioneers in fresh fields of action. The greater the spiritual gain a nation has brought to the rest of the world, the longer and more steadily its life has flowed in the channels it was the first to make, the longer is its history told among them. The nations of history are those which have put forward, in one fashion or another, their claim to the dominion of the world. Thus we may fitly ask what claim it is that is made upon our interest by the history of the Jewish nation. And the answer will be, that nothing which excites our attention, or stirs us to admiration or imitation in the history of other nations, is here present in any large measure. Israel was always a small, nay, a petty nation, settled in a narrow space, never of any considerable importance in the political history of the East; it never brought forth a Ramses II, a Sargon, an Esarhaddon, an Asshurbanapal, a Nebuchadrezzar, or a Cyrus to bear its banner into distant lands. Yet, for all this, the history of Israel has, for us, an interest quite different from that of those other nations of antiquity. And if, as we see, Israel is far surpassed in martial glory by the peoples of the great empires, and by the Romans in their influence on the development of law, there are yet other points in which it must yield unquestioned precedence to other nations of antiquity. We do not find in Israel the same feeling for beauty as among the Greeks, who, like no nation before them or after, showed forth the laws of beauty in every sphere of intellectual life, and to this day, in such matters, stand forth in a perfection which has never again been attained, far less excelled. Among the Hebrews there is nothing analogous, nothing comparable to what we admire in the Hellenic people. It has no epic, nothing that can be compared with the Iliad and the Odyssey, against which the Germans set the Nibelungen Lied, and the Finns the Kalewala; it has not the slightest rudiments of a drama—the Song of Songs and Job are not dramas. There is a school of lyrical poetry unsurpassed for all time, and the music that corresponds to it. But the bent towards science, which actuates the Greeks, is wholly lacking—wholly lacking the bent towards[2] philosophy. Nor was it ever eminent in ancient days, in the walks of commerce, enterprise and invention, by which, also, a nation may conquer the world; its intellectual life is absolutely one-sided, a one-sidedness that produces on us the effect of extreme singularity. But the attraction it has for us does not lie in this singularity. It is due, rather, to the circumstance that this small nation has exerted a far greater influence over the course of the history of the whole human race than the Greeks or Romans, that to us it has become typical in many more respects than they. Our present modes of thought and feeling, our lives and actions, are far more profoundly influenced by the world of thought and feeling which Israel brought to the birth, than by that of Greece or Rome. Our whole civilisation to-day is saturated with tendencies and impulses which have their origin in Israel. To be continue in this ebook...

The star-crossed lovers of Maceo and Mezzy try… and fail to create their happily ever after at the end of the world! In the post-apocalypse, paradise can’t last for long in… THE RISE AND FALL OF GOLGONOOZA! A secluded suburban community is the last thing Maceo and Mezzy expected to find, especially one so well-preserved and well-stocked. As more people come to reside in this settlement called Golgonooza, it flourishes, and becomes a home for Mezzy and Maceo, just as they become home to each other. However, the cracks in Maceo and Mezzy’s oasis turn to chasms as their relationship stability (and that of the community) faces its first disasters! What Maceo felt for Mezzy eventually turns to terror as he doubts if he ever knew her in the first place, and even begins to fear her. The chasm between them grows–quite literally–as Golgonooza’s foundation crumbles and bubbles with a strange poison gas… New York Times bestselling, Eisner and Harvey Award-winning writer Jason Aaron (Thor, Star Wars: Darth Vader) is joined by acclaimed artist Leila del Duca (Wonder Girl: Homecoming) in the second chapter of his ambitious post-apocalyptic original series! Collects Once Upon a Time at the End of the World #6-10.

Web 2.0's democratisation of media produces a wealth of new perspectives. Those formerly excluded from the public sphere have the chance to make their voices heard. But this wave of participation is as important for busines as it is for the newly included. Mute's Web 2.0 special uncovers the work in social networking and the centralisation of the means of sharing. Features texts by Giorgio Agostoni, Olga Goriunova, Dmytri Kleiner & Brian Wyrick and Angela Mitropoulos. With additional articles by Brian Ashton, John Barker, Paul Helliwell and Merijn Oudenampsen.

#1 NEW YORK TIMES BESTSELLER! ONCE UPON A BROKEN HEART marks the launch of a new series from Stephanie Garber about love, curses, and the lengths that people will go to for happily ever after For as long as she can remember, Evangeline Fox has believed in true love and happy endings . . . until she learns that the love of her life will marry another. Desperate to stop the wedding and to heal her wounded heart, Evangeline strikes a deal with the charismatic, but wicked, Prince of Hearts. In exchange for his help, he asks for three kisses, to be given at the time and place of his choosing. But after Evangeline’s first promised kiss, she learns that bargaining with an immortal is a dangerous game — and that the Prince of Hearts wants far more from her than she’d pledged. He has plans for Evangeline, plans that will either end in the greatest happily ever after, or the most exquisite tragedy.

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