John Ross has been living in the old colonial quarter of Mexico City for the last three decades, a rebel journalist covering Mexico and the region from the bottom up. He is filled with a gnawing sense that his beloved Mexico City's days as the most gargantuan, chaotic, crime-ridden, toxically contaminated urban stain in the western world are doomed, and the monster he has grown to know and love through a quarter century of reporting on its foibles and tragedies and blight will be globalized into one more McCity. El Monstruo is a defense of place and the history of that place. No one has told the gritty, vibrant histories of this city of 23 million faceless souls from the ground up, listened to the stories of those who have not been crushed, deconstructed the Monstruo's very monstrousness, and lived to tell its secrets. In El Monstruo, Ross now does.

Petit wonders why some things that he does, like playing with his dog, make him a good boy, while others, like pulling girl's hair, make him bad, and how it is that he can be both bad and good.

This book, in graphic novel format, describes the legend of the Loch Ness monster, a creature that has been sighted at Loch Ness a number of times since the sixth century. Uncover evidence of Nessie’s existence through historical sightings and present-day efforts to locate this mysterious beast.

This is the first book to examine the rise of Spain's extraordinary national theatre in the sixteenth and seventeenth centuries in all its aspects - the commercial theatre, the court drama and the Corpus autos, the organisation of theatrical life, the playhouses themselves and their public, the literary and moral controversies, and the plays as literary texts. The book has been written for students of drama as well as Hispanists: Spanish theatre is set in its national and international context; Spanish titles and theatrical terms are translated. Considerable space has been devoted to the experimental drama of the sixteenth century before Lope de Vega. At the core of the book is a highly distinctive, successful national theatre which mirrored the energies, beliefs and anxieties of a great nation in crisis, yet at the same time granted full expression to the individual genius of its greatest exponents - Lope de Vega, Tirso de Molina and Calderon de la Barca.

Hidden under the sea, Ora's gold collection is her best treasure. Ora will do almost anything to get more gold. But does that include fighting a big scary giant?

Come and meet this little monster. He would love to be the ugliest monster in the world But is this true? Soon enough, we'll meet a second monster. He claims to be the ugliest monster in the world And what about the third monster? Who said there are only Beauty Contests? Who would turn to be the World's Ugliest Monster?

Poetry. Latino/Latina Studies. Translated from the Spanish by Dave Oliphant. Enrique Lihn's writings, both creative and critical, are considered in Chile some of the most significant in the country's distinguished literary history. This bilingual volume is the most complete collection of Lihn's work in English. As well as some of Lihn's familiar poems, this volume includes representative poems from a number of his later books, previously uncollected pieces, and selections from his final moving sequence, Diary of Death.