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Mona is twenty-three, emotionally adrift and cleaning houses to get by. While handing out clean needles to drug addicts, she falls for a man she calls Mr Disgusting, who proceeds to break her heart in unimaginable ways. In search of healing, she decamps to New Mexico for a fresh start, but always lurking just beneath the surface are the ghosts of her past, and the crushing legacy of a chaotic, destructive childhood. It seems running further away from her problems could just leave more inventive ways for them to find her.
In Pretend We’re Dead, Annalee Newitz argues that the slimy zombies and gore-soaked murderers who have stormed through American film and literature over the past century embody the violent contradictions of capitalism. Ravaged by overwork, alienated by corporate conformity, and mutilated by the unfettered lust for profit, fictional monsters act out the problems with an economic system that seems designed to eat people whole. Newitz looks at representations of serial killers, mad doctors, the undead, cyborgs, and unfortunates mutated by their involvement with the mass media industry. Whether considering the serial killer who turns murder into a kind of labor by mass producing dead bodies, or the hack writers and bloodthirsty actresses trapped inside Hollywood’s profit-mad storytelling machine, she reveals that each creature has its own tale to tell about how a freewheeling market economy turns human beings into monstrosities. Newitz tracks the monsters spawned by capitalism through b movies, Hollywood blockbusters, pulp fiction, and American literary classics, looking at their manifestations in works such as Norman Mailer’s “true life novel” The Executioner’s Song; the short stories of Isaac Asimov and H. P. Lovecraft; the cyberpunk novels of William Gibson and Marge Piercy; true-crime books about the serial killers Ted Bundy and Jeffrey Dahmer; and movies including Modern Times (1936), Donovan’s Brain (1953), Night of the Living Dead (1968), RoboCop (1987), The Silence of the Lambs (1991), and Artificial Intelligence: AI (2001). Newitz shows that as literature and film tell it, the story of American capitalism since the late nineteenth century is a tale of body-mangling, soul-crushing horror.
I am walking along a lane with no earthly idea why... Poet Glyn Maxwell wakes up in a mysterious village one autumn day. He has no idea how he got there – is he dead? in a coma? dreaming? – but he has a strange feeling there’s a class to teach. And isn’t that the poet Keats wandering down the lane? Why not askhim to give a reading, do a Q and A, hit the pub with the students afterwards? Soon the whole of the autumn term stretches ahead, with Byron, Yeats and Emily Dickinson, the Brontës, the Brownings and Edgar Allan Poe, Walt Whitman, Wilfred Owen and many more all on their way to give readings in the humble village hall. And everything they say – in class, on stage, at the Cross Keys pub – comes verbatim from their diaries, essays, or letters. Drinks With Dead Poets is a homage to the departed, a tale of the lives and loves of students, a critical guide to great English poetry, the dream of a heavenly autumn. Nothing like it has ever been written.
Warm, funny, and very honest, I'm Alive and the Doctor's Dead offers practical help and hope for women suffering from breast cancer. Sue Buchanan tells her story and assures women that there is life--and a lot of it--during and after cancer.n
Duplicity tells the story of Carlos, '60's counterculture refugee, who earns a meager living as a psychic detective in New York City in the '90's. Prompted by a message seen on a blackboard, Carlos embarks on the kind of case he relishes--a mystery from the past. In 1930, New York Supreme Court Judge Joseph Crater vanished, never to be seen again. Aided by psychic friends, Carlos seeks out Crater's spirit. Angry at being called to answer questions, the spirit issues a warning: Carlos will learn Crater's fate, but will suffer for it. The mystery follows Carlos, revealing Crater's past of violence, dual personality and psychic murder. Powerfully intermingling the lives and consciousness of two men--one dead and the other alive--Duplicity demonstrates the power of the dead over the living. For Carlos, it's a journey into pos-session by an evil spirit and the merging of his personality with Crater's reliving the last days of the missing man's life--revealing themes of disappearance, dualities of existence, and personal disintegration, ending with Crater's death--and perhaps Carlos' death as well.

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