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The Other Side of Tomorrow
?The Other Side of Tomorrow? follows the lives of Cherish and Johnu, friends whose love for each other is incredibly strong and enduring. The characters meet during their teenage years and attend a Miles Davis concert on their first date. Their love and friendship blossoms. They take a trip with their friends, Sunman and Desire. While in the pool, they discuss their relationship and Johnu questions his return to Howard University. Cherish promises to stand by him no matter what happens. In 1975, Johnu plays the piano in the same club which was host to his and Cherish?s first date. His performance is broadcast on New York City?s premier jazz station. Eventually, religion begins to cause problems between the two, and Johnu writes a letter to Cherish to preserve their relationship. From the letter, they find a new level of understanding. The two move on with their lives, Cherish having children and Johnu marrying Ketous. As the work concludes, Cherish and Johnu meet again and agree that the happiest time in their lives was the time that they spent together. The ?Other Side of Tomorrow? renders the tale of the ties that bind two souls together in lasting friendship.
Vengeance
With the enemy unveiled, The Complot has pummeled Vengeance to its lowest point. Broken and leaderless, the teams' survivors receive help from those deemed enemy while suffering at the hands of those they trust. Should luck favor Vengeance and they find victory, there is still a matter of truth to be discovered... why?
Ironmaster & Other Tales
From the author of "The Paradox War" trilogy, a new mosaic novel set in a world of Dark Faery tale, magic, and Steampunk mad science. In 1560, Queen Elizabeth I finally sued for peace with the Faeries that plagued her lands. The new Covenant granted noble titles to those with magic and magic to those with titles. Now it's the 1980s, and after centuries of mage rule, including a recent 30 years of total war in Europa followed by 20 years of uneasy peace, the world is ready to embrace change. Over 30 tales of Airship Pirates, Flying Monsters, Alchemical Adventurers, Rocket Ninjas, Chthonic Horrors, Mad Scientists, Occult Detectives, Dog-Headed Cops, Folk-Magicians, Seelie and Unseelie Faeries, Infernal Conspiracies, Sorceress-Queens, and Punk-Rocker Spies, build into the story of a revolution, and a Civil War that will change the destiny of a whole universe.
Contemporary Irish Writing and Environmentalism
This book examines how the Irish environmental movement, which began gaining momentum in the 1970s, has influenced and been addressed by contemporary Irish writers, artists, and musicians. It examines Irish environmental writing, music, and art within their cultural contexts, considers how postcolonial ecocriticism might usefully be applied to Ireland, and analyzes the rhetoric of Irish environmental protests. It places the Irish environmental movement within the broader contexts of Irish national and postcolonial discourses, focusing on the following protests: the M3 Motorway, the Burren campaign, the Carnsore Point anti-nuclear protest, Shell to Sea, the turf debate, and the animal rights movement.
Irish Culture and the People
This book argues that populism has been a shaping force in Irish literary culture. Populist moments and movements have compelled authors to reject established forms and invent new ones. Sometimes, as in the middle period of W.B. Yeats's work, populism forces a writer into impossible stances, spurring ever greater rhetorical and poetic creativity. At other times, as in the critiques of Anna Parnell or Myles na gCopaleen, authors penetrate the rhetoric fog of populist discourse and expose the hollowness of its claims. Yet in both politics and culture, populism can be a generative force. Daniel O'Connell, and later the Land League, utilized populist discourse to advance Irish political freedom and expand rights. The most powerful works of Lady Gregory and Ernie O'Malley are their portraits of The People that borrows from the populist vocabulary. While we must be critical of populist discourse, we dismiss it at our loss. This study synthesizes existing scholarship on populism to explore how Irish texts have evoked The People--a crucial rhetorical move for populist discourse--and how some writers have critiqued, adopted, and adapted the languages of Irish populisms.
Bernard Shaw, W. T. Stead, and the New Journalism
This book explores Bernard Shaw’s journalism from the mid-1880s through the Great War—a period in which Shaw contributed some of the most powerful and socially relevant journalism the western world has experienced. In approaching Shaw’s journalism, the promoter and abuser of the New Journalism, W. T. Stead, is contrasted to Shaw, as Shaw countered the sensational news copy Stead and his disciples generated. To understand Shaw’s brand of New Journalism, his responses to the popular press’ portrayals of high profile historical crises are examined, while other examples prompting Shaw’s journalism over the period are cited for depth: the 1888 Whitechapel murders, the 1890-91 O’Shea divorce scandal that fell Charles Stewart Parnell, peace crusades within militarism, the catastrophic Titanic sinking, and the Great War. Through Shaw’s journalism that undermined the popular press’ shock efforts that prevented rational thought, Shaw endeavored to promote clear thinking through the immediacy of his critical journalism. Arguably, Shaw saved the free press.
The Corps Vanishes
flee the fascists in the mid-1930s and wind up in Hollywood. Big stars in Europe, Zoltan is relegated to playing a two-bit Poverty Row vampire again and again, while his incredibly beautiful wife, Hilka, gets a handful of small pointless roles. Zoltan resents the overwhelming success of Britisher, Ivan Chernov, former truck driver turned actor, whose deforming facial war wounds (not any notable talent) make him the perfect horror movie star. Everyone knows about Zoltan’s resentment, and when Chernov is killed by someone who seems to think he’s a vampire, guilt by public acclimation is Zoltan’s fate…and now he can’t find work (even his own bloodsucker, i.e. his agent, deserts him). Mocked by the press and getting little cooperation from the police with the sort-of help of Hilka (who puts her uncontrollable nymphomania to good use) and his friend, a homosexual screenwriter named Winston, Zoltan sets out across the high and low places (mostly the low) of Hollywood to find out for himself: whodunit?
The Politics of Identity in Irish Drama
This study examines the early dramatic works of Yeats, Synge, and Gregory in the context of late colonial Ireland’s unique socio-political landscape. Cusack demonstrates the complex negotiation of nationalism, class, and gender identities undertaken by these authors in the years leading up to Ireland’s revolution.
Only the Moon Rages
In the remote Péten jungle of Guatemala, famous Dutch archeologist Dr. Jana deVries discovers a strange and powerful glowing artifact. Her associate, Canadian medical archeologist Dr. Greg Fallows, fears she will take sole credit for the find; in a fit of insanity brought on by contact with the relic, he kills her. The move causes Greg's life to implode. The esoteric knowledge he discovered in the relic and killed for once belonged to the medieval Knights Templar. He becomes trapped in a scheme by senior international government officials and business scions very influential people who believe the artifact has the power to change history. Greg's life becomes caught in a modern battle of goo...
Modern Irish Literature and the Primitive Sublime
Modern Irish Literature and the Primitive Sublime reveals the primitive sublime as an overlooked aspect of modern Irish literature as central to Ireland’s artistic production and the wider global cultural production of postcolonial literature. A concern for and anxiety about the primitive persists within modern Irish culture. The “otherness” within and beyond Ireland’s borders offers writers, from the Celtic Revival through independence and partition to post-9/11, a seductive call through which to negotiate Irish identity. Ultimately, the disquieting awe of the primitive sublime is not simply a momentary recognition of Ireland’s primitive indigenous history but a repeated rhetorical gesture that beckons a transcendent elation brought about by the recognition of the troubled, ritualistic and sacrificial Irish past to reveal a fundamental aspect of the capacity to negotiate identity, viewed through another but intimately reflective of the self, within the long emerging twentieth-century Irish nation.
