![]() ![]() WARNING! Abundance of blood, gore and violence. But the worst thing is, this particular installment sees Sita sidelined in its second half, when a male hero steps in. ![]() The deus-ex-machina device is freely used. More sophisticated than the previous books in the series (also because 14 years have passed), Thirst No.3 has lots of action, conspiracies and high stakes, plus an old friend returning.Ĭons: A few problematic assessments about women, in jest but still bad-tastey. Blends urban fantasy with thriller, history (though not in this specific installment), and more than anything, Eastern spirituality. ![]() Plenty of kickass action and entertaining (if often bloody) moments. Series: Thirst (previously: The Last Vampire) (3rd of ? books)Īuthor: Christopher Pike Īge: 14+ (please note: for years it's been considered YA lit, but the human age of the protagonist would place it in the NA category nowadays, and the series gets more mature - and darker - by the book) ![]()
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![]() ![]() The work covers the history of the Roman Empire, Europe, and the Catholic Church from 98 to 1590 and discusses the decline of the Roman Empire in the East and West. The original volumes were published in quarto sections, a common publishing practice of the time. Volumes II and III were published in 1781 volumes IV, V, VI in 1788-89. ![]() Published in six volumes, volume I was published in 1776 and went through six printings. HISTORY OF THE DECLINE AND FALL OF THE ROMAN EMPIRE COMPLETE VOLUMES 1 - 6 (sometimes shortened to "Decline and Fall of the Roman Empire") is a book of history written by the English historian Edward Gibbon, which traces the trajectory of the Roman Empire-and Western civilization as a whole-from the late first century AD to the fall of the Eastern or Byzantine Empire. This edition also includes an illustrated history of BOTH the RISE AND FALL of the Roman Empire from its very beginning. ![]() ![]() ![]() ![]() (“Spice up your panic attack with a harmonica.”)Īs warmth and humor pervade McPhail’s single-panel cartoons, so too do they fill the pages of his debut graphic novel, In., which is a deeply pleasurable literary and visual experience. His characters have simple but wildly expressive eyes and a vivid, anxious humanness. He has a tendency to satirize the high-end coffee shops he likes to frequent (“Small, medium, or that,” says a barista, while a handful of patrons lap up coffee from a trough) and to anthropomorphize animals like birds and rats (McPhail finds inspiration for these characters from his formal training as a zoologist, as well as the pigeons that frequent the windows of his flat in Edinburgh, Scotland). ![]() Will McPhail, who has been contributing cartoons and humor pieces to the magazine for the last seven years, has cultivated a delightfully manic style which favors themes of loneliness and social performance (one couple ascends the stairs toward a house party: “Just be myself? Fine, I’ll go cry in the shower”). But the cartoonists behind these wry inventions each have their signatures, from Bob Mankoff’s besuited characters, shaded in with hatching and dots, to Emily Flake’s softly-colored-in, baggy-clothed hipsters. New Yorker cartoons are recognizable on sight: simple black-and-white sketches of a scene captioned with some drollery that gently mocks the upper echelons of liberal society. ![]() ![]() As their love blossoms, the scheming headmistress, Mme. Despite knowing little French, she thrives there and falls for her colleague, an irritable and hot-tempered professor named M. SynopsisĪfter a family tragedy, Lucy Snowe leaves England for the French-speaking town of Villette where she takes up a post as an English teacher at Mme. Like Charlotte’s other novels, Villette was first published under her androgynous pen name, Currer Bell. It was preceded by The Professor (published posthumously in 1857), Jane Eyre (1847), and Shirley (1849). ![]() Villette was the fourth and last novel Charlotte Brontë wrote. Paul Emanuel, and tries to make her way in the world. There, she gets romantically involved with a professor, M. ![]() ![]() The protagonist, Lucy Snowe, is an Englishwoman who travels to the fictional French-speaking town of Villette to teach at a girls’ boarding school after a family tragedy. Villette is an 1853 novel by Charlotte Brontë. ![]() ![]() Many modern adaptations feel the need to shake up the story and make Fanny Price more like Elizabeth Bennet which is exactly what they've done here. She's a product of the time in which she was written and is meant to be humble, pious, respectful and not in the least bit outspoken or inappropriate. ![]() ![]() One reason why this novel is so difficult to adapt for a 21st century audience is that the character of the heroine is, by modern standards, incredibly dull. What were the writers thinking? Billie is the polar opposite to her character, both in looks and sensibility. However, I'm sorry to say that she is completely miscast as the lead in this, and when I first heard that she would be playing Fanny Price I thought it was a joke. I enjoyed her in 'Doctor Who' and do think she is an aspiring actress. ![]() ![]() At best, this is 'inspired' by the story of 'Mansfield Park' and I'm sorry to say that it's barely recognisable to the original. I struggle to see how it could even be described as an 'adaptation', being only very (and I mean very) loosely based on Jane Austen's plot and characters. This is the worst adaptation of 'Mansfield Park' I have ever seen, even worse than the 1999 film version. ![]() ![]() Etta and Eleazar are the only ones who can save the city, save Louisa May Alcott-and save each other. ![]() The train’s magic is malfunctioning and spreading a purple smoke called The Fear through the streets of Chicago. Only, the stakes are even higher than they thought. On-board, they discover each train car is its own magical world with individual riddles and challenges that must be solved before they can reach the engine room and rescue LMA. The catch? LMA has run onto a magical train that mysteriously arrived at the station near Etta and Eleazar’s houses. Etta spends most of her time alone, working on her comic book about Invisible Girl, the superhero who takes down super villain Petra Fide and does all the things Etta thinks she can’t.īut when Louisa May Alcott, a friendly Goldendoodle from across the street, disappears, Etta and the dog’s boy, Eleazar, must find their inner heroes to save her. Twelve-year-old Etta Johnson has Loud Days where she can hear just fine and Quiet Days where sounds come from far away and she gets to retreat into her thoughts. ![]() A girl with hearing loss and a boy adjusting to life in a new country connect through their love of comics and get entangled in their own fantastical adventure. ![]() ![]() ![]() What? That was the weirdest most dogshit ending ever. Perhaps they used to let him tell long rambly tales and "do annoying voices" to break the prisoners' will at Guantanamo? Then again, one of King's big claims to fame is having once been in the CIA. ![]() In small doses, she could have been a quaint addition to the story, but with nothing but walls upon walls of text with her as the narrator it was torture. Some kind of weird speech pattern that was a cross between old-timey mountain man, and the alien version of what someone who isn't from the South thinks the southern dialect sounds like. Swear to god, I thought everything was wrapping up around issue 5 (I was reading it as single issues on DC Infinite), so you can imagine my utter shock when I get to the end and realize I have THREE MORE of these long-ass issues to go.Īnd Ruthye Marye Knoll was just the worst way to have to get your information. That's a lot of goddamn word bubbles there, sir. It was ok for the first few issues because you're setting the scene for everything. ![]() The elephant in the room really is King's tendency to use 40 words instead of 5. ![]() Might have been a better story without the hillbilly alien girl narrating the entire thing. ![]() ![]() ![]() "synopsis" may belong to another edition of this title. ![]() The English-language debut of one of Japan’s most fearlessly inventive young writers. In these eleven stories, the individuals who lift the curtains of their orderly homes and workplaces are confronted with the bizarre, the grotesque, the fantastic, the alien―and find a doorway to liberation. A newlywed notices that her spouse’s features are beginning to slide around his face to match her own. A saleswoman in a clothing boutique waits endlessly on a customer who won’t come out of the fitting room, and who may or may not be human. ![]() A boy waits at a bus stop, mocking commuters struggling to keep their umbrellas open in a typhoon, until an old man shows him that they hold the secret to flying. Certainly the style will remind readers of the Japanese authors Banana Yoshimoto and Sayaka Murata, but the stories themselves―and the logic, or lack thereof, within their sentences―are reminiscent, at least to this reader, of Joy Williams and Rivka Galchen and George Saunders." ―Weike Wang, The New York Times Book ReviewĪ housewife takes up bodybuilding and sees radical changes to her physique, which her workaholic husband fails to notice. ![]() "In Yukiko Motoya’s delightful new story collection, the familiar becomes unfamiliar. Winner of the Akutagawa Prize and the Kenzaburo Oe PrizeĪ New York Times Book Review Editors' Choice ![]() ![]() With the destruction of the enormous abbey the whole place collapsed in a general ruin: the Martyr's bones met with the fate of the sacred pile that held them, and not a stone is now left to tell where they lie. To this fair creation of the great Middle-Age the Dissolution was, as historians tell us, the death-knell. The bones of King Edward "the Martyr," carefully removed hither for holy preservation, brought Shaston a renown which made it the resort of pilgrims from every part of Europe, and enabled it to maintain a reputation extending far beyond English shores. The spot was the burial-place of a king and a queen, of abbots and abbesses, saints and bishops, knights and squires. ![]() Vague imaginings of its castle, its three mints, its magnificent apsidal abbey, the chief glory of South Wessex, its twelve churches, its shrines, chantries, hospitals, its gabled freestone mansions-all now ruthlessly swept away-throw the visitor, even against his will, into a pensive melancholy, which the stimulating atmosphere and limitless landscape around him can scarcely dispel. (as Drayton sang it), was, and is, in itself the city of a dream. Milton.įrom whose foundation first such strange reports arise, ![]() "Whoso prefers either Matrimony or other Ordinance before the Good of Man and the plain Exigence of Charity, let him profess Papist, or Protestant, or what he will, he is no better than a Pharisee."- J. ![]() Part IV, Chapter I Part Fourth At Shaston ![]() ![]() ![]() ![]() The customer, subcontractors, suppliers, and sometimes even the government are stakeholders. The project sponsor, generally an executive in the organization with the authority to assign resources and enforce decisions regarding the project, is a stakeholder. Even if all the deliverables are met and the objectives are satisfied, if your key stakeholders aren’t happy, nobody’s happy. ![]() NOTE: Key stakeholders can make or break the success of a project. However, you negatively affect residents who live near the highway during your project (with construction noise) and after your project with far-reaching implications (increased traffic noise and pollution). When you manage a project to add lanes to a highway, motorists are stakeholders who are positively affected. They are the people who are actively involved with the work of the project or have something to either gain or lose as a result of the project. But who are the stakeholders? Stakeholders are individuals who either care about or have a vested interest in your project. Adrienne Watt Merrie Barron Andrew Barron Erin Palmer and Jose SoleraĬlick play on the following audio player to listen along as you read this section.Ī project is successful when it achieves its objectives and meets or exceeds the expectations of the stakeholders. ![]() |