A monstrous love ballad Deep beneath the waves Grue discovers love after finding Shakespeare’s plays in cola bottles. When his first attempt at companionship in the world above ends . . . poorly, Grue searches for the person who cast the plays into the sea. What he finds is love in the arms of Giuliettabut with his wicked past catching up to him, Grue must decide if becoming a new man means ignoring the monster he was. * Brand-new hardcover edition of Jonathan Case’s debut graphic novel!

A surreal new collection from an acclaimed poet Hallucinogenic plants chant in chorus. A thoughtful dog grants an interview. A caterpillar offers life advice. Amy Gerstler’s newest collection of poetry, Dearest Creature, marries fact and fiction in a menagerie of dramatic monologues, twisted love poems, and epistolary pleadings. Drawing on sources as disparate as Lewis Carroll and Mary Shelley’s Frankenstein, as well as abnormal psychology, etiquette, and archaeology texts, these darkly imaginative poems probe what it means to be a sentient, temporary, flesh-and-blood beast, to be hopelessly, vividly creaturely.

In Dear Creatures, Claire Bowman hosts a suite of poems at once alien and intimately human. They are psyche and senses, spiritual toads. Created through the belief that poetry doesn¿t come out of us, it comes into us, these poems express a desire to be in dialogue with something that is beyond understanding. They are spoken through an oracular voice that lacks identity, and embody the incoherence of a shattered psyche. This work is concerned with an intensity of experience that is derived from being a wet, electrical body that houses consciousness, a phenomenon that should never cease to leave us gripped, stupefied, and spellbound.

Slowly I learnt the ways of humans: how to ruin, how to hate, how to debase, how to humiliate. And at the feet of my master I learnt the highest of human skills, the skill no other creature owns: I finally learnt how to lie.Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.Mary Shelley's Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.

Told through a series of notes, two boys go on a hike hoping to find Yeti but run into trouble along the way.

The Creature Campers are back for another adventure! To pass their map and compass skills test, they must find their way to a hidden spot in the forest, where a picnic feast awaits! Follow Norm the Bigfoot and his friends as they brave a swampy lake, a scheming creature collector, and a starry night surprise to get to their deliciously sweet reward--and learn the true meaning of teamwork and trust.

When the Nazis come to power, KLARA HOFFMAN is just past 30, daughter of a well-to-do Jewish cloth manufacturer. Heinrich, her fiance, becomes a Nazi, and she breaks off their engagement. Jacob, her young brother, dies from a beating by a Nazi official, and on November 12, 1938 her father, Ernst, dies following the violence of the "Night of Broken Glass". Klara's brother Erik and her sisters have already left for the Americas. But Klara is sponsored by an English family, the Furlongs. She has to leave her mother, who eventually dies in the Auschwitz death camp. In England, Klara watches as war draws nearer. She strikes up a lasting friendship with Eleanor, the Furlongs' 10-year-old daughter, in time becomes a cafe waitress, and hopes to marry a British soldier,who is killed in North Africa. As the years pass, she allows herself to become a 'character'. Eleanor comes back into her life as a young mother of two. Klara (now known as Clare) briefly returns to the Furlongs' when she becomes homeless. Eventually she enters a retirement home where she makes cautious friends with an elderly artist inspired to return to portraiture by the strength and suffering he sees in her face. Klara's story poses the question: was Klara as much a victim of the nazis as if she had died in the gas chamber? Perhaps her survival argues that everyone who survives mankind's inhumanity is one more proof that the human spirit cannot ultimately be crushed. There is tragedy in Klara. But it is nt gloomy. It is a fictional biography based on a true story: Klara was sponsored out of Germany by the author's parents in 1939. What is known of her life is used, and the known episodes are linked with fiction based on fact.