Frank Miller’s Sin City has set the gold standard for crime comics, both for Miller’s unflinching stories and for his visceral, powerfully charged art. To honor the artist and his groundbreaking work, Dark Horse is proud to return Frank Miller: The Art of Sin City to print, now in an affordable softcover edition. An astonishing look into a master’s process, containing pieces both published and unpublished, and featuring items ranging from preliminary sketches to promotional images, this beautiful artistic showcase holds everything a Sin City fan, or connoisseur of fine art, could ever hope for. * The out-of-print masterpiece, now in a digital format! * Available just in time for the release of Miller and Robert Rodriguez’s Sin City: A Dame to Kill For! * Includes rarely seen art! * Introduction by art historian R. C. Harvey!

Paperback reissue of one volume of the English Dominicans' Latin/English edition of Thomas Aquinas' Summa Theologiae.

The first novel in the Sinful Suitors series by New York Times bestselling author Sabrina Jeffries! At St. George’s Club, guardians conspire to keep their unattached sisters and wards out of the clutches of sinful suitors. Which works fine…except when the sinful suitors are members! American artist Jeremy Keane refuses to return home and take over his father’s business. He’d much rather sample bevvies of beauties abroad, in search of a model for the provocative masterpiece he’s driven to paint. When he meets Lady Yvette Barlow at a London wedding, he realizes she’s perfect for his work—and determines to capture the young heiress’s defiant spirit and breathtaking sensuality on canvas. No stranger to scandal, Yvette agrees to be Keane’s subject—in exchange for his help gaining entry to the city’s brothels he knows intimately, so she can track a missing woman and solve a family mystery. But when their practical partnership leads to lessons in the art of sinning, can they find a bold and lasting love?

1. Who is better than Satan, once that tries to destroy him through the meanness and cynicism?2. There is no better world than, her own evil.3. How everything is an illusion of life, any lie can be truth, as any God or Satan can be lie.4. The one who lives knows he will die in the world of God, who fighting against death.5. Leaving Him on the God from us, us leave on ourselves.6. To him separate God from Satan, means that the entire vengeance of the God belongs to the good of to destroy?7. Sometimes and destruction is a good, like Satan is a God.

The allied themes of sin and redemption are at the heart of many classics of religious literature, and even secular writers feel compelled to explore the role of sin and redemption in such works as King Lear, Moby-Dick, Paradise Lost, The Portrait of a Lady, The Waste Land, and many more works.. Featuring original essays and excerpts from previously published critical analyses, this addition to the Bloom's Literary Themes series gives students valuable insight into the title's subject theme.

Langston Hughes survived as a writer for over forty years under conditions that made survival virtually heroic. Determined on a literary career at a time when no African American had yet been able to live off his or her writing, Hughes not only faced poverty and racism but found himself pressed by the conflicting hopes, expectations, and demands of readers and critics. He relied on his skill as a mediator among competing positions in order to preserve his art, his integrity, and his unique status as the poetic voice of ordinary African Americans. Which Sin To Bear? explores Hughes's efforts to negotiate the problems of identity and ethics he faced as an African American professional writer and intellectual. The book traces his early efforts to fashion himself as an "authentic" black poet of the Harlem Renaissance and his later imagining of a new and more inclusive understanding of authentic blackness. It examines Hughes's lasting, yet self-critical commitment to progressive politics in the mid-century years. And it shows how, in spite of his own ambivalence--and, at times, anguish--Hughes was forced to engage in ethical compromises to achieve his personal and social goals. The book is also the first to analyze Hughes's executive-session testimony before Joseph McCarthy's Senate Permanent Subcommittee on Investigations, which was unavailable to the public for half a century. David Chinitz digs into Hughes's creative work, newspaper columns, letters, and unpublished papers to reveal a writer who faced a daunting array of dicey questions and intimidating obstacles, and whose triumphs and occasional missteps are a fascinating and telling part of his legacy.

Intriguing, and occasionally unsettling, In Defense of Sinis a refreshingly frank exploration of some real facts of life. Portmann gathers an on-target collection of great writers on transgressions large and small. Read about defenses for promiscuity, greed, deceit, gossip, lust, breaking the golden rule, and more--and use this unusual guide to decide for yourself if sin has a place in our contemporary, and virtually unshockable, society. Provocative and illuminating, this book may change how you think about sin, morality, and what's right. Contributors include Aaron Ben-Ze'ev, Anthony Ellis, Jane English, Ludwig Feuerbach, Sigmund Freud, Bernard Mandeville, Jerome Neu, Friedrich Nietzsche, David Novitz, Joyce Carol Oates, David A.J. Richards, Seneca, Jonathan Swift, Richard Wasserstrom, and Oscar Wilde.

People in Merit, Wisconsin, always said Jimmy was . . . you know. But people said all sorts of stupid stuff. Nobody really knew anything. Nobody really knew Jimmy. I guess you could say I knew Jimmy as well as anyone (which was not very well). I knew what scared him. And I knew he had dreams?even if I didn't understand them. Even if he nearly ruined my life to pursue them. Jimmy's dead now, and I definitely know that better than anyone. I know about blood and bone and how bodies decompose. I know about shadows and stones and hatchets. I know what a last cry for help sounds like. I know what blood looks like on my own hands. What I don't know is if I can trust my own eyes. I don't know who threw the stone. Who swung the hatchet? Who are the shadows? What do the living owe the dead?