Return to the "vivid and unusual" (Kirkus Reviews) world of Larry Niven and Jerry Pournelle's The Burning City, where the fire god has retreated into myth, leaving the residents of Tep's Town unprotected for the first time in their history. Unfortunately, a fiery fate isn't the only danger the town is facing. From out of the desert come monsters -- great birds with blades instead of wings, driven by some unknown force. Although they can be killed, the threat these terror birds pose is worse than death. Danger on the roads means no trade. No trade means that Tep's Town will be no more. Sent by the Lords of Lordshills to discover the source of the terror birds, Lord Sandry and his beloved, Burning Tower, must travel into a world where magic is still strong -- and where someone or something waits to destroy them! Filled with the sweeping adventure, memorable characters, and imaginative world-building that have defined the novels of Larry Niven and Jerry Pournelle, Burning Tower is another triumph.

Set in the world of Larry Niven's popular The Magic Goes Away, The Burning City transports readers to an enchanted ancient city bearing a provocative resemblance to our own modern society. Here Yagen-Atep, the volatile and voracious god of fire, alternately protects and destroys the city's denizens. In Tep's Town, nothing can burn indoors and no fire can start -- except when the Burning comes upon the city. Then the people, possessed by Yagen-Atep, set their own town ablaze in a riotous orgy of destruction that often comes without warning. Whandall Placehold has lived with the Burning all his life. Fighting his way to adulthood in the mean-but-magical streets of the city's most blighted neighborhoods, Whandall dreams of escaping the god's wrath to find a new and better life. But his best hope for freedom may lie with Morth of Atlantis, the enigmatic sorcerer who killed his father!

Viking marauders descend on a much-plundered island, hoping some mayhem will shake off the winter blahs. A man is booted out of his home after his wife discovers that the print of a bare foot on the inside of his windshield doesn't match her own. Teenage cousins, drugged by summer, meet with a reckoning in the woods. A boy runs off to the carnival after his stepfather bites him in a brawl. In the stories of Wells Tower, families fall apart and messily try to reassemble themselves. His version of America is touched with the seamy splendor of the dropout, the misfit: failed inventors, boozy dreamers, hapless fathers, wayward sons. Combining electric prose with savage wit, Everything Ravaged, Everything Burned is a major debut, announcing a voice we have not heard before.

Takes place 14,000 years in the site that will later become Los Angeles.

Originally published in 1924, this title is substantially a continuation of Baudouin’s earlier work Studies in Psychoanalysis, being an application of psychoanalysis to the theory of aesthetics, as illustrated by a detailed study of the works of the Belgian poet Emile Verhaeren. The ‘interpretation’ Freud has supplied for dreams Baudouin attempts – and archives – for the imagery of the artistic creator. The work is in part based upon private documents supplied to the author by Madame Verhaeren, an autograph letter, and a previously unpublished poem.

The enigmatic and richly illustrative tarot deck reveals a host of strange and iconic mages, such as The Tower, The Wheel of Fortune, The Hanged Man and The Fool: over which loom the terrifying figures of Death and The Devil. The 21 numbered playing cards of tarot have always exerted strong fascination, way beyond their original purpose, and the multiple resonances of the deck are ubiquitous. From T S Eliot and his 'wicked pack of cards' in "The Waste Land" to the psychic divination of Solitaire in Ian Fleming's "Live and Let Die"; and from the satanic novels of Dennis Wheatley to the deck's adoption by New Age practitioners, the cards have in modern times become inseparably connected to the occult. They are now viewed as arguably the foremost medium of prophesying and foretelling. Yet, as the author shows, originally the tarot were used as recreational playing cards by the Italian nobility in the Renaissance. It was only much later, in the 18th and 19th centuries, that the deck became associated with esotericism before evolving finally into a diagnostic tool for mind, body and spirit. This is the first book to explore the remarkably varied ways in which tarot has influenced culture. Tracing the changing patterns of the deck's use, from game to mysterious oracular device, Helen Farley examines tarot's emergence in 15th century Milan and discusses its later associations with astrology, kabbalah and the Age of Aquarius.