TEXT FOR AUTHOR BIO: Jason resides in Newcastle Australia. When he isn't writing, he is busy caring for his "mini-zoo" of pets, which include an assortment of lizards, snakes, birds, cats, a dog and even a pig. He also writes album reviews and conducts interviews for his business Echorider Metalworks, an internet store specializing in Heavy metal music and plays guitar for his bank Iliad.TEXT FOR BOOK DESCRIPTION: Black Abyss could loosely be described as a work of science fiction set in northern Australia in the not-too-distant future. The story revolves around twin gods — The Pulse and the Black Abyss—who together created a universe, which was destroyed when one of their creations discovered the power of creation themselves, and destroyed the balance within their world. Only the two gods survived, without any knowledge of the other one's fate. The Black Abyss was left to slowly die in its former universe and the pulse was propelled into a new dimension, where it commenced creating a new god. This was a slow process, as, without the Black Abyss, equilibrium would be impossible to maintain if there were any sudden changes of great magnitude. The process, which would take several billion years, would be achieved through evolution. Eventually it is realized by the book's main characters that the survival of the universe was becoming a race against time, as the Black Abyss finds a window between its universe and ours and attempts to find the Pulse in order to save itself from certain death. They work together to try and unravel the mysteries of this universe and to try and stop their home and everything around them from disappearing forever.

"The Italy of Massimo Carlotto is a different world entirely, a dangerous setting for serious crimes committed by cruel men." — The New York Times A riveting drama of guilt, revenge, and justice, Massimo Carlotto's Death's Dark Abyss tells the story of two men and the savage crime that binds them. During a robbery, Raffaello Beggiato takes a young woman and her child hostage and later murders them. Beggiato is arrested, tried, and sentenced to life. The victims' father and husband, Silvano, plunges into an ever-deepening abyss until the day, years later, when the murderer seeks his pardon and Silvano turns predator as he ruthlessly plots his revenge.

The field of archaeology continues to face a major crisis of interpretation. The traditional view is that the basic business of archaeology is to reconstruct the history of cultures and civilizations through their material productions. Olivier challenges this view with a new approach to archaeological remains based on the works of French theorists such as Foucault, de Certeaux, and Derrida, with insight from Darwin and Freud. His thesis is that archaeology does not study the past itself but rather what materially remains of the past in our present. Olivier also develops an interpretation of material culture based on Aby Warburg’s and Walter Benjamin’s work in the anthropology of art. With wider implications for history and all social sciences, The Dark Abyss of Time is a major contribution to the theory of time, memory, heritage, and archaeology. This flawless translation makes Olivier’s elegantly written work available in English for the first time.

The story of the fate of two cousins in sixteenth century northern France. The younger, sixteen-year-old Henry Maximilian, has set out to become a soldier and a poet. The elder, twenty-two-year-old Zeno, has left the seminary to make himself an alchemist-philosopher.

In AD 200 thousand, the universe was almost explored, and in this vast world, there were two types of people who could dominate over others. One was the person who had mastered the strongest technology, and the other was the person who had reached the peak of the Cultivation Level.Family Wu originally had the strongest technological ability recorded in the A.I. Chip, and after obtaining the strongest Cultivation Methods in the world of cultivation, what kind of waves would he create in this universe?

This important book weaves together trauma, black metal theory and disability into a story of both pain and freedom. Drawing on her many years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny and the healing power of performance.

Mythologized as the era of the “good war” and the “Greatest Generation,” the 1940s are frequently understood as a more heroic, uncomplicated time in American history. Yet just below the surface, a sense of dread, alienation, and the haunting specter of radical evil permeated American art and literature. Writers returned home from World War II and gave form to their disorienting experiences of violence and cruelty. They probed the darkness that the war opened up and confronted bigotry, existential guilt, ecological concerns, and fear about the nature and survival of the human race. In Facing the Abyss, George Hutchinson offers readings of individual works and the larger intellectual and cultural scene to reveal the 1940s as a period of profound and influential accomplishment. Facing the Abyss examines the relation of aesthetics to politics, the idea of universalism, and the connections among authors across racial, ethnic, and gender divisions. Modernist and avant-garde styles were absorbed into popular culture as writers and artists turned away from social realism to emphasize the process of artistic creation. Hutchinson explores a range of important writers, from Saul Bellow and Mary McCarthy to Richard Wright and James Baldwin. African American and Jewish novelists critiqued racism and anti-Semitism, women writers pushed back on the misogyny unleashed during the war, and authors such as Gore Vidal and Tennessee Williams reflected a new openness in the depiction of homosexuality. The decade also witnessed an awakening of American environmental and ecological consciousness. Hutchinson argues that despite the individualized experiences depicted in these works, a common belief in art’s ability to communicate the universal in particulars united the most important works of literature and art during the 1940s. Hutchinson’s capacious view of American literary and cultural history masterfully weaves together a wide range of creative and intellectual expression into a sweeping new narrative of this pivotal decade.