Bestselling author Joelle Sterling concludes her vampire trilogy as a young woman must decide between love and saving her world. In the town of Frombleton, government and law enforcement are run by vampires, and humans can’t get justice—particularly after the sun goes down. Holland Manning has been studying witchcraft at the elite Stoneham Academy. Having reached the rare pinnacle of Witch of the First Order, Holland is the only human who has the power to thwart the vampires’ heinous designs. She alone can save the town’s residents. While devising a plan to overthrow the vampire regime, Holland is appalled to discover that another threat to humans has found its way to Frombleton: a growing band of ravenous zombies are prowling the streets, devouring the vampire’s food source and challenging their seat of power. And to Holland’s horror, at the helm of the marauding flesh eaters is the recently returned love of her life, Jonas! No matter who wins, the human race is doomed unless Holland can make the arduous decision to choose victory over love.

Gluttony and starvation, pleasure and pain, growth and decay. These and other extremes of our condition related to food, though all but banned from the "civilized" tables of mainstream fiction, are ideal topics for the "undomesticated," free-roaming modes of fantasy. As acts and ideas, food and eating are fundamental to all that makes us human and dominate our symbolic realms of art, literature, and cuisine. These essays show us the power of speculative modes of fiction to help us look anew at prehistorical and psychomythical attitudes toward food and eating; historical Western-cultural attitudes toward the material fact of food and the necessity of eating; and the relationship between attitudes toward food and how, how much, when, and where we eat. The contributors come from a variety of backgrounds, including anthropology, film, and French, Russian, English, and medieval literature. Ranging in their focus from shamans to cannibals, utopias to social Darwinism, muscle magazines to supermarket tabloids, the contributors discuss the theory and practice of science fictional eating; the dialectic, at the level of eating, between individual needs and collective norms; and the ways that eating habits and the availability and choice of food serve to contextualize and demarcate modern fictional genres. In addition to discussing such writers as C. S. Lewis, Stephen King, Octavia Butler, Jonathan Swift, and Anne Rice, the contributors also consider such films as Indiana Jones and the Temple of Doom and Cocteau's Beauty and the Beast.

The Old Testament is a violent, bloody book, but the more we modern Christians neglect it, the more our gospel loses its teeth. This little book will call you out, cut you up, lift you up, and set you on fire. It begins where all spiritual meat does: not at the dinner table, not in the kitchen, nor even at the market. It begins in the abattoir. The God of the Old Testament is a butcher only because the Christ of the New Testament is a chef. Real theology deals with food, with milk and honey, flesh and blood, bread, oil, and wine. It is nourishment for children, wisdom for kings, and courage for prophets. God gave us food to teach us about life and death. God gave us sacrifice to teach us about death and resurrection. We prepare food for ourselves as God prepares us for Himself. The culinary art is close to the heart of the God who is a consuming fire.

An investigation into what thrills us, what terrifies us, and what would make us travel ten thousand miles and evade the local authorities, The Devil's Picnic is a delicious and compelling expedition into the heart of vice and desire. Taras Grescoe is the author of two books, one of which, Sacre Blues: An Unsentimental Journey Through Quebec, was shortlisted for the Writers' Trust Award and was a national bestseller in Canada. His work appears in major publications all over the US, the UK and Canada. "Vivid and entertaining."-New York Times "[Grescoe] spends a year in seven countries, seeking out such delicacies as Epoisses cheese, which smells so bad it's said to have been banned from the Paris Metro; the author writes fondly that it makes 'Gorgonzola smell like Velveeta.'...He eats bulls' testicles in Madrid and visits an absinthe distillery in Switzerland. You feel hung over just reading the thing-guilty, implicated and strangely hungry."-Los Angeles Times Also available: HC ISBN: 1-58234-429-9 ISBN-13 978-1-58234-429-4 $24.95

"The Design of "The Waste Land" offers a detailed, comprehensive explanation of T. S. Eliot's enigmatic poem. It relates The Waste Land to earlier and later poems by Eliot, demonstrating that the major poems describe a continuous spiritual odyssey or quest undertaken by the same individual, initiated by the moment of ecstasy in the Hyacinth garden." "Blistein's analysis of Eliot's sources reveals that the protagonist's glimpse of "the heart of light" is equivalent to drinking from the Grail, or communing with God. The incarnate deity momentarily transforms the Hyacinth garden into the likeness of the Edenic paradise. With the inevitable passing of the moment of communion, the protagonist in effect is expelled from the paradisiacal garden as mankind was from Eden. By contrast, the familiar world appears to him a wasteland. The protagonist seeks to drink again from the divine Source and return again to the garden as it was when transfigured by the divine presence. His is a quest for grail and homeland."--BOOK JACKET.

The book includes sixteen studies about medieval Hebrew poetry compared with Arabic poetry. It is well known that since the tenth century medieval Hebrew poets took Arabic poetry as the ultimate paradigm in terms of prosody, language purism and rhetorical devices and even in regard to poetical genres. However, the concept unifying all studies in this book is that a comparative examination must consider not only the identical elements in which Hebrew poetry borrowed from the Arabic one, but alos what is much more significant – what Hebrew poetry stubbornly set itself at a distance from Arabic poetry. The conclusive result of this sort of examination is that Hebrew poetry combined selectively borrowed Arabic poetical values with traditional ethical Jewish values to create a distinctive poetical school.