An adventure tale for our times, the author combines real world events and supernatural elements in the style of a classical epic to tell a sometimes snarky, sometimes uproarious, and very poignant modern tale. Meet Hank Allensworth and Wilson Evans in a modern reflection of the Epic of Gilgamesh. An epic bromance between a Marine and his corpsman running around Oceanside, California . Degenerate Lance Corporals who have recently returned from Afghanistan, spending most of their time drunk at The Purple Church. One night while they're out drinking they are called back to base and the battalion is put on stand by because during the conflict with ISIS, the Islamic Republic of Iran decided to end the proxy war and get involved themselves. Soon after, Hank and Doc go with the regiment to keep the Iranians from crossing the Euphrates. The war kicks off and the Marines push across Iraq and into Iran. Hank and Doc both are wounded and sent home. The rest of the story they deal with survivor's guilt, alcoholism, PTSD, covering up for a murder, and trying to manage deteriorating love lives. I don't know if I could say there's any deeper meaning than gratuitous sex and violence, but I can guarantee you that if you've spent more than three days in an infantry battalion you will love this book.

Thirty years after the destruction of Earth, World War Three still rages between the Russian Federation and the United States in the depths of space. Thatch Allensworth, a decorated sergeant, struggles to maintain his personal relationships between deployments. Faced against terrifying new weapons, a relentless enemy, solar system wide combat, and an anti-romantic lover, Thatch only has his friends Stockton, Chuck, McKenzie, and O'Con to keep him from spiraling into alcoholism and madness.

The Matchmaker, the Apprentice, and the Football Fan moves between anarchic campuses, maddening communist factories, and the victims of China's economic miracle to showcase the absurdity, injustice, and socialist Gothic of everyday Chinese life. In "The Football Fan," readers fall in with an intriguingly unreliable narrator who may or may not have killed his elderly neighbor for a few hundred yuan. The bemused antihero of "Reeducation" is appalled to discover that, ten years after graduating during the pro-democracy protests of 1989, his alma mater has summoned him back for a punitive bout of political reeducation with a troublesome ex-girlfriend. "Da Ma's Way of Talking" is a fast, funny recollection of China's picaresque late 1980s, told through the life and times of one of our student narrator's more controversial classmates; while "The Apprentice" plunges us into the comic vexations of life in a more-or-less planned economy, as an enthusiastic young graduate is over-exercised by his table-tennis-fanatic bosses, deprived of sleep by gambling-addicted colleagues, and stuffed with hard-boiled eggs by an overzealous landlady. Full of acute observations, political bite, and piercing insight into friendships and romance, these stories further establish Zhu Wen as a fearless commentator on human nature and contemporary China.

Following the civil war on the human colonized world of Cygnus VII, humanity and its creations rise again. Free Trader Braden and his mindlinked Hillcat are plying the trade routes of Warren Deep when things start to get hot. Giving events time to be forgotten, Braden gathers engineered (mutant) creatures to him for a trip south of the Great Desert where he hopes to find Old Tech that he can trade for untold riches. The more he learns about the ancients, the more he wants to learn. Along the way, he establishes a new ideal regarding trade and collaboration in the south where trust of strangers is unknown. Braden and his companions, a Hawkoid, a Hillcat, a Tortoid, and a female warrior find that some Old Tech still functions, with the potential to change their world for the better or worse, depending on what they decide.

The Epic continues!Still politically incorrect, violent, and sexual, if you enjoyed Smokepit Fairytales then you will love the follow up: Sing Goddess, The Wrath of the Fonz. A war story combined with the supernatural in the style of a classical epic to tell a snarky, uproarious, and very poignant tale mixed with an edgy Sci-Fi and fantasy twist to keep you guessing. While on a NATO training mission gone awry in Latvia the Russian Federation invades the Baltic States. Hank and Doc are stuck in the snow of far off northern lands fighting for survival. Never losing their nerve. However, things go poorly when the Marines push into Russia. Ivan is a formidable opponent, and Death is an equal opportunity employer. Who will survive?

Thatch, Chuck, and Stockton have fled their burdensome lives on Mars in favor of raiding the stars with Hornigold MacCrinain and pirates. The future seems bright until Thatch is twisted into committing a heinous crime that leads down a road too dark to travel. Ambition may be the road to success, but there are no compasses in space and no king on the road to Hell. What goes up crashed back down.

This 2002 Companion is designed for readers interested in past and present productions of Shakespeare's plays, both in and beyond Britain. The first six chapters describe aspects of the British performing tradition in chronological sequence, from the early staging of Shakespeare's own time, through to the present day. Each relates Shakespearean developments to broader cultural concerns and adopts an individual approach and focus, on textual adaptation, acting, stages, scenery or theatre management. These are followed by three explorations of acting: tragic and comic actors and women performers of Shakespeare roles. A section on international performance includes chapters on interculturalism, on touring companies and on political theatre, with separate accounts of the performing traditions of North America, Asia and Africa. Over forty pictures illustrate peformers and productions of Shakespeare from around the world. An amalgamated list of items for further reading completes the book.

This companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. The emphasis is on feature films for cinema with strong coverage Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet.

From Oscar-winning British classics to Hollywood musicals and Westerns, from Soviet epics to Bollywood thrillers, Shakespeare has inspired an almost infinite variety of films. Directors as diverse as Orson Welles, Akira Kurosawa, Franco Zeffirelli, Kenneth Branagh, Baz Luhrmann and Julie Taymor have transferred Shakespeare's plays from stage to screen with unforgettable results. Spanning a century of cinema, from a silent short of 'The Tempest' (1907) to Kenneth Branagh's 'As You Like It' (2006), Daniel Rosenthal's up-to-date selection takes in the most important, inventive and unusual Shakespeare films ever made. Half are British and American productions that retain Shakespeare's language, including key works such as Olivier's 'Henry V' and 'Hamlet', Welles' 'Othello' and 'Chimes at Midnight', Branagh's 'Henry V' and 'Hamlet', Luhrmann's 'Romeo + Juliet' and Taymor's 'Titus'. Alongside these original-text films are more than 30 genre adaptations: titles that aim for a wider audience by using modernized dialogue and settings and customizing Shakespeare's plots and characters, transforming 'Macbeth' into a pistol-packing gangster ('Joe Macbeth' and 'Maqbool') or reimagining 'Othello' as a jazz musician ('All Night Long'). There are Shakesepeare-based Westerns ('Broken Lance', 'King of Texas'), musicals ('West Side Story', 'Kiss Me Kate'), high-school comedies ('10 Things I Hate About You', 'She's the Man'), even a sci-fi adventure ('Forbidden Planet'). There are also films dominated by the performance of a Shakespearean play ('In the Bleak Midwinter', 'Shakespeare in Love'). Rosenthal emphasises the global nature of Shakespearean cinema, with entries on more than 20 foreign-language titles, including Kurosawa's 'Throne of Blood and Ran', Grigori Kozintsev's 'Russian Hamlet' and 'King Lear', and little-known features from as far afield as 'Madagascar' and 'Venezuela', some never released in Britain or the US. He considers the films' production and box-office history and examines the film-makers' key interpretive decisions in comparison to their Shakespearean sources, focusing on cinematography, landscape, music, performance, production design, textual alterations and omissions. As cinema plays an increasingly important role in the study of Shakespeare at schools and universities, this is a wide-ranging, entertaining and accessible guide for Shakespeare teachers, students and enthusiasts.