After rescuing his parents, Danny returns to his old life, burying the taro that allowed him to speak to animals, trees, and the very storms that led to his adventure. Danny thinks he's left magic and mystery behind, but Sammael, a creature of terrible imagination, refuses to let him go. A strange new girl, Cath, enters Danny's world, bringing with her a message: Danny's cousin Tom has sold his soul to Sammael. It's up to Danny and Cath to find Tom and stop Sammael, who seeks to destroy humankind once and for all.

An alien force is attempting to take over the world, employing a cadre of followers to spread an infection that would convert all of humanity into his servants.

The eagerly awaited new novel from Canada’s top crime-fiction writer. It’s the May half-term school holiday, and the first warm day of the year has drawn a few children to the River Swain for a swim. When one boy chases another off the path that runs alongside Hindswell Woods, a glimpse of orange through the trees tempts them into the shadows. Moments later, their high spirits vanish in an instant, for there, to their shock (and ghoulish fascination), they find a man in a brightly coloured shirt hanging from a branch by a rope around his neck. Alan Banks is in London with his new girlfriend when news of the kids’ ghastly discovery reaches the police in Eastvale, so the case falls to Annie Cabbot. And she’s mystified. Why would a successful set and costume designer, with a well-reviewed production of Othello currently playing, be in such despair that he would take his own life? In All the Colours of Darkness, Peter Robinson has written an exceptionally gripping and intricately plotted story that delivers hard truths about jealousy and betrayal — and of the insidious, corrosive power of secrets. Once more, Robinson proves that he is one of the finest crime-fiction writers in the world.

'One should try to see health and disease in the light of the theory of colour.' -- Rudolf SteinerThrough her work as an art teacher, Liane Collot d'Herbois discovered that an individual's constitution, temperament and illnesss were often revealed through their painting.Using Rudolf Steiner's remark as a starting point, together with her own observations, she went on to develop therapeutic painting.Art therapy helps bring about balance and health in the human being through working with an understanding of the relationship between the opposing tendencies of light and darkness in art and in the human constitution.

Eleven-year-old Danny O'Neill has never been what you'd call adventurous. But when he wakes the morning after a storm to find his house empty, his parents gone, and himself able to hear the thoughts of a dying tree, he has no choice but to set out to find answers. He soon learns that the enigmatic Book of Storms holds the key to what he seeks . . . but unraveling its mysteries won't be easy. If he wants to find his family, he'll have to face his worst fears and battle terrifyingly powerful enemies, including the demonic Sammael himself.In the beautifully imagined landscape of Ruth Hatfield's TheBook of Storms, magic seamlessly intertwines with the everyday, nothing is black and white, and Danny is in a race against time to rescue everything he holds dear.

In a story where the text appears in white letters on a black background, as well as in braille, and the illustrations are also raised on a black surface, Thomas describes how he recognizes different colors using various senses.

A Scarecrow Warrior God walks into a bar...and proceeds to drag a modern American city into a ten-thousand-year-old grudge-match! A bizarre new adventure„complete with boozehound shamans, monster queens, and a football-fetching hydra! Featuring an extended sketchbook section and a few surprises! Collects RUMBLE #1-5.

A kaleidoscopic exploration that traverses history, literature, art, and science to reveal humans' unique and vibrant relationship with color. We have an extraordinary connection to color—we give it meanings, associations, and properties that last millennia and span cultures, continents, and languages. In The World According to Color, James Fox takes seven elemental colors—black, red, yellow, blue, white, purple, and green—and uncovers behind each a root idea, based on visual resemblances and common symbolism throughout history. Through a series of stories and vignettes, the book then traces these meanings to show how they morphed and multiplied and, ultimately, how they reveal a great deal about the societies that produced them: reflecting and shaping their hopes, fears, prejudices, and preoccupations. Fox also examines the science of how our eyes and brains interpret light and color, and shows how this is inherently linked with the meanings we give to hue. And using his background as an art historian, he explores many of the milestones in the history of art—from Bronze Age gold-work to Turner, Titian to Yves Klein—in a fresh way. Fox also weaves in literature, philosophy, cinema, archaeology, and art—moving from Monet to Marco Polo, early Japanese ink artists to Shakespeare and Goethe to James Bond. By creating a new history of color, Fox reveals a new story about humans and our place in the universe: second only to language, color is the greatest carrier of cultural meaning in our world.

Horror is one of the most enduringly popular genres in cinema. The term “horror film” was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty kinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term “horror film.” Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since.