It’s a fast action-packed Western. Reincarnation comes at a heavy price when Wolfgang Beaumont, known as Wolf, agrees to accept the terms of the deal. His destiny is to fight evil in the Wild West in the 1880s and follow a quest that will be revealed to him. When Wolf questioned his guide how to find evil, he was informed this, “Don’t worry, evil will find you.” His trek from New Orleans to Montana is fraught with danger and deadly encounters and only his skill developed through intensive and continuing training and practice will hopefully sustain him. But for how long—and at what price?

Clarke, was adapted into a radio presentation by Orson Welles."--Jacket.

LC copy incomplete: v. 12 only. Vols. 1-4. Outlines of cosmic philosophy -- v. 5 Myths and myth-makers -- v. 6. The unseen world and other essays -- v. 7. Excursions of an evolutionist -- v. 8. Darwinism and other essays -- v. 9. Studies in religion -- v. 10. A century of science -- v. 11. The Mississippi Valley in the Civil War -- v. 12. Civil government in the United States.

Reprint of the original, first published in 1877.

I Walked with a Zombie (1943), Val Lewton's second feature for RKO Radio Pictures, was described by critic Robin Wood as 'perhaps the most delicate poetic fantasy in the American Cinema.' Following immediately in the wake of the groundbreaking Cat People (1942), Zombie pioneered an even more radical narrative approach yet proved to be the critical and commercial equal of its predecessor, cementing the reputation of both Lewton and his director, Jacques Tourneur. Despite the lurid, studio-imposed title, I Walked with a Zombie is a subtle and ambiguous visual poem that advanced a daring condemnation of slavery and colonialism at a time when such themes were being actively suppressed by government censors. Clive Dawson charts the complex development and production of the project, essential to understanding the concerns of the filmmakers in the context of wartime Hollywood, then analyses the film in detail, referencing a broad range of academic studies of the audio-visual text and distilling new insight into its layers of meaning. Finally, he explores the film's reception, and the influence it exerted on the horror genre and beyond. Extensive primary research has uncovered a wealth of previously unpublished new material that solves many unanswered questions and dispels various myths about this utterly unique film.

Handsomely equipped with a comprehensive introductory historical essay, editor's notes and selected bibliography, this distinguished anthology is a model of genre research. These previously untranslated stories, published from 1871 onward, offer reading virtually unknown to most American (and many German) readers. Some authors combine scientific and philosophical issues, like Kurd Lasswitz in his witty tale "To the Absolute Zero of Existence: A Story from 2371, " while others, as in Erik Simon's 1983 title story, pose psychological puzzles involving alien phenomena. Though the earlier stories in particular demand painstaking reading, all of them repay it with rewarding insights into German and Austrian culture and the many possible uses and misuses of science.

When Emily Crane’s car breaks down on a dark, lonely road at night, she is attacked and raped by a man she kills in self-defense. That night, the dead rapist walks out of the morgue. Later, Emily begins to experience strange cravings and her body undergoes terrifying changes. When brutal killings leave victims partially eaten in the northern California coastal town of Big Rock, Sheriff Arlin Hurley scoffs at the talk of werewolves ... until a tuft of wolf’s fur is found on a victim. It soon becomes clear that whatever is responsible for the killings, it is not alone. There are more than one. And they are doing something much worse than killing and eating people.