Like Tom, the hyena could be seen, soon lapping up the traces of the morning's spoils, ingesting the sweet carrion through its lulling glands, along the track it follows. Tom absorbed the air of the explorers -- Sucked it down, ingested it. Until he was but a fractured remnant of the Western world -- Still part Africa, not yet civil, holy. He had no real home, not any more, yet he followed a dream, that will of an apparition; dream of a man with a raised and pointed spear. ""That other life is not for you, Tom. "" ""Here you might breathe. . . ."" the warm alcohol releases fears and dreams. "" . . .If you must breathe at all"" . . .

It takes more than silver bullets to kill a werewolf. This is an an omnibus edition of the three books in the Autobiography of a Werewolf Hunter trilogy. Sylvester James knows what it is to be haunted. His mother died giving birth to him and his father never let him forget it—until the night he was butchered by a werewolf. Alone in the world, Sylvester is taken in by Michael Winterfox, a Cheyenne mystic. Winterfox, once a werewolf hunter, trains the boy to be a warrior—teaching him how to block out pain, stalk, fight, and kill. Bit by bit all that makes Sylvester human is sacrificed to the hunt. Now, Sylvester’s hatred has become a monster all its own, robbing him of conscience and conviction as surely as the Beast’s bite. As he follows his vendetta into the outlands of the occult, options become scarce. And he learns it takes more than silver bullets to kill a werewolf—to kill a werewolf, it takes a hunter with a perfect willingness to die. This edition features the previously published Autobiography of a Werewolf Hunter, Heart of Scars, and The Lineage in Brian P. Easton's Autobiography of a Werewolf Hunter trilogy.

In 1914, Haggard, the author of colonialist novels King Solomon's Mines and She returned to a South Africa which had greatly changed since the first visits of his youth. This account of his journey as a member of the British Empire's Dominions Royal Commission offers observations on the changed nature of the country after the Anglo-Boer wars and details a number of aspects of the political landscape, including a description of his interview with the founder of the African National Congress, John Dube. c. Book News Inc.

A NEW YORK TIMES NOTABLE BOOK OF 2020 After The Childhood of Jesus and The Schooldays of Jesus, the Nobel Prize-winning author completes his haunting trilogy with a new masterwork, The Death of Jesus In Estrella, David has grown to be a tall ten-year-old who is a natural at soccer, and loves kicking a ball around with his friends. His father Simón and Bolívar the dog usually watch while his mother Inés now works in a fashion boutique. David still asks many questions, challenging his parents, and any authority figure in his life. In dancing class at the Academy of Music he dances as he chooses. He refuses to do sums and will not read any books except Don Quixote. One day Julio Fabricante, the director of a nearby orphanage, invites David and his friends to form a proper soccer team. David decides he will leave Simón and Inés to live with Julio, but before long he succumbs to a mysterious illness. In The Death of Jesus, J. M. Coetzee continues to explore the meaning of a world empty of memory but brimming with questions.

This encyclopedia explores the many long-standing influences of Africa and people of African descent on the culture of the Americas, while tracing the many ways in which the Americas remain closely interconnected with Africa. Ranging from the 15th century to the present, Africa and the Americas: Culture, Politics, and History explores the many ways Africa and African peoples have shaped the cultural life of the Americas—and how, in turn, life in the Americas reverberates in Africa. This groundbreaking three-volume encyclopedia offers hundreds of alphabetically organized entries on African history, nations, and peoples plus African-influenced aspects of life in the Americas. It also features authoritative introductory essays on history, culture and religion, demography, international relations, economics and trade, and arts and literature. In doing so, it traces the complex and continuous movement of peoples of African descent to the West, the mechanics and lingering effects of colonialism and the slave trade, and the crucial issues of cultural retention and adaptation that are essential to our understanding of the effects of globalization.

George Lucas's first Star Wars trilogy shows the influences of its era; Cold War tension is evident in its theme of rebellion against totalitarianism. Recent entries in the Star Wars saga--The Phantom Menace (1999) and Attack of the Clones (2002)--are much more concerned with evil corporations, terrorists, and the corruption of the political process. Each film is influenced by the times in which it was released, but also by cultural subtexts and by other films that had direct and indirect effects on Lucas as writer, producer, and director. This work focuses on all six Star Wars films. The first topic of this multifaceted examination is how the films use the language of colonialism ("The" Rebellion, "The" Empire) to emphasize the idea of imperialism. Next the author looks at how Asian influences--including religious undertones from Taoism and Buddhism and the works of Kurosawa and other Asian filmmakers--provide a subtext for much of the action. Next the discussion turns to the representation of people of color in the Star Wars universe, and how other ethnicities are represented overall, particularly through the literalization of the word "aliens." These topics of discussion provide for penetrating conclusions about Lucas's films and how they represent race, religion, and rebellion.