As Tom Tin nears Australia, where he’s to serve a lengthy sentence for a murder he didn’t commit, he and his fellow convict, Midgely, plot their escape. No matter that the ship carrying them and the other juvenile criminals is captained by Tom’s father. Tom knows his father can’t help him clear his name and regain his freedom–not as long as Mr. Goodfellow, a man who wants the ruin of the Tin family, wields power back in London. So Tom and Midgely decide to go overboard! So do other boys who seize their chance at liberty–boys who aren’t so innocent, and who have it in for Tom. To make things worse, the islands in the Pacific look inviting, but Tom remembers his father’s warnings: headhunters and cannibals lurk there! The boys go anyway. And as conflict among them mounts, as they encounter the very dangers Captain Tin spoke of, Tom must fight to keep himself and Midgely alive.

At first, all Lily Austin knows about 19th–century explorer Mary Kingsley is that, 100 years before, she was the first white woman to venture into the heart of Africa. But as Lily begins reading about Mary Kingsley, she becomes more and more fascinated – and discovers in Mary a kindred spirit. In her own life, Lily feels trapped – on the one hand, she craves family and intimate connection; on the other hand, she has no healthy or satisfying role models. Consequently, as she nears graduation from the University of Virginia, she finds herself uncertain about what to do with her life. As she researches Mary's life – she has begun writing a play about her – Lily comes to witness Mary's incredible bravery and startling originality, qualities that prove inspirational to Lily, whose own bravery is required as she attempts to navigate dysfunctional and destructive relationships with her young husband, her extended family – and a legacy of abuse dating back to her childhood.

On Christmas Eve 1951, Santa Claus was hanged and then publicly burned outside of the Cathedral of Dijon in France. That same decade, ethnologists began to study the indigenous cultures of central New Guinea, and found men and women affectionately consuming the flesh of the ones they loved. "Everyone calls what is not their own custom barbarism," said Montaigne. In these essays, Claude Lévi-Strauss shows us behavior that is bizarre, shocking, and even revolting to outsiders but consistent with a people's culture and context. These essays relate meat eating to cannibalism, female circumcision to medically assisted reproduction, and mythic thought to scientific thought. They explore practices of incest and patriarchy, nature worship versus man-made material obsessions, the perceived threat of art in various cultures, and the innovations and limitations of secular thought. Lévi-Strauss measures the short distance between "complex" and "primitive" societies and finds a shared madness in the ways we enact myth, ritual, and custom. Yet he also locates a pure and persistent ethics that connects the center of Western civilization to far-flung societies and forces a reckoning with outmoded ideas of morality and reason.

“Unlike me, life isn’t always pretty,” says Tiffany Spratt—a cheerleader destined for fame who will do anything to get there Tiffany is definitely glad that the best-looking boy in the universe just transferred to her high school. Her boyfriend, Wally, got caught hacking into the Pentagon’s computer system and was sent to boarding school, so she almost didn’t have a date for the Homecoming dance! But Tiffany knows that she’ll look fabulous next to her new boyfriend, Cannibal MacLaine—at least she thinks he said his name was Cannibal. Sure, it’s an incredibly unusual name, but then, he is from Los Angeles. Then something even more exciting happens: A major Hollywood director wants to film a horror movie right in their school! Not everyone is as pleased as Tiffany though—in fact, her own mother is leading protests against the plan—but Tiffany is Head Yell Leader at Hi High, so she gets the chamber of commerce on her side. The movie studio signs the contract, and everything is going to be perfect . . . if it doesn’t turn into a perfect nightmare first.

It's the stuff of nightmares, the dark inspiration for literature and film. But astonishingly, cannibalism does exist, and in Among the Cannibals travel writer Paul Raffaele journeys to the far corners of the globe to discover participants in this mysterious and disturbing practice. From an obscure New Guinea river village, where Raffaele went in search of one of the last practicing cannibal cultures on Earth; to India, where the Aghori sect still ritualistically eat their dead; to North America, where evidence exists that the Aztecs ate sacrificed victims; to Tonga, where the descendants of fierce warriors still remember how their predecessors preyed upon their foes; and to Uganda, where the unfortunate victims of the Lord's Resistance Army struggle to reenter a society from which they have been violently torn, Raffaele brings this baffling cultural ritual to light in a combination of Indiana Jones-type adventure and gonzo journalism. Illustrated with photographs Raffaele took during his travels, Among the Cannibals is a gripping look at some of the more unsavory aspects of human civilization, guaranteed to satisfy every reader's morbid curiosity.

Celebrated American Indian thinker Jack D. Forbes’s Columbus and Other Cannibals was one of the founding texts of the anticivilization movement when it was first published in 1978. His history of terrorism, genocide, and ecocide told from a Native American point of view has inspired America’s most influential activists for decades. Frighteningly, his radical critique of the modern "civilized" lifestyle is more relevant now than ever before. Identifying the Western compulsion to consume the earth as a sickness, Forbes writes: "Brutality knows no boundaries. Greed knows no limits. Perversion knows no borders. . . . These characteristics all push towards an extreme, always moving forward once the initial infection sets in. . . . This is the disease of the consuming of other creatures’ lives and possessions. I call it cannibalism." This updated edition includes a new chapter by the author.

In August 1870 in the French village of Hautefaye, a young nobleman, falsely accused of shouting republican slogans, was tortured for hours by a mob of peasants who later burned him alive. This book is a fascinating inquiry into the social and political ingredients of an alchemy that transformed ordinary people into brutal executioners.

"Translations of the earliest accounts, from the fifteenth and sixteenth centuries, of the native peoples of the Americas, including Columbus's descriptions of his first voyage. Documents the emergence of a primal anthropology and how Spanish ethnological classifications were integral to colonial discovery, occupation, and conquest"--Provided by publisher.

The Cannibal was John Hawkes's first novel, published in 1949. "No synopsis conveys the quality of this now famous novel about an hallucinated Germany in collapse after World War II. John Hawkes, in his search for a means to transcend outworn modes of fictional realism, has discovered a a highly original technique for objectifying the perennial degradation of mankind within a context of fantasy.... Nowhere has the nightmare of human terror and the deracinated sensibility been more consciously analyzed than in The Cannibal. Yet one is aware throughout that such analysis proceeds only in terms of a resolutely committed humanism." - Hayden Carruth

The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry—word music—that focuses on the experiences of migrant life. This music provides a culturally reflexive and consciously artistic account of what it is to be a migrant or part of a migrant's life. It reveals the relationship between these Basotho workers and the local and South African powers that be, the "cannibals" who live off of the workers' labor. David Coplan presents a moving collection of material that for the first time reveals the expressive genius of these tenacious but disenfranchised people. Coplan discusses every aspect of the Basotho musical literature, taking into account historical conditions, political dynamics, and social forces as well as the styles, artistry, and occasions of performance. He engages the postmodern challenge to decolonize our representation of the ethnographic subject and demonstrates how performance formulates local knowledge and communicates its shared understandings. Complete with transcriptions of full male and female performances, this book develops a theoretical and methodological framework crucial to anyone seeking to understand the relationship between orality and literacy in the context of performance. This work is an important contribution to South African studies, to ethnomusicology and anthropology, and to performance studies in general.