In Bouillon de Bébé, a family's twisted tradition of self-sacrifice contains the power to bring their loved ones back from the brink. In Secret Ingredient, revenge is a dish best served with... apple pie. In Nyotaimori, a young, attractive sushi model responds to be the display at an event that turns out to be more than a little fishy, & in We All Scream, your friendly ice cream man delivers two scoops of terror. Editors Alder Strauss & Hydra M. Star serve to you, the reader, the tantalizing talents of eighteen manifestations of mouthwatering macabre paired with rousing recipes and succulent supplementaries; including history, film, and more. Enjoy, Bon Appetit

Featuring some top quality up and coming authors, and one or two well established favourites too, this is about as bizarre and strange an anthology as you might expect from a series of stories about clown horror! It never fails to horrify, amuse, and often even disturb the reader. From a virus that turns people into clowns, to a clownpocalypse that leaves humanity fighting to survive to tales of clowns who are just eager to get revenge for one ill conceived wrong or another, all of the stories included in this collection have something different to bring to the table and something different to offer.

This creator-authorized second volume in the Floppy Shoes Apocalypse clown horror series features a wide range of stories and poems, from quiet horror to over-the-top Splatterpunk, and a lineup starring newcomers such as Joshua Laing and horror master Ramsey Campbell. Recommended for Mature Audiences 18+.

A history of the people who established the first Buddhist monastery outside of Asia.

"The Krakau came to Earth to invite humanity into a growing alliance of sentient species. But they hadn't counted on a mutated plague wiping out half the human population, turning the rest into shambling, near-unstoppable animals, and basically destroying human civilization. You know, your standard apocalypse. The Krakau's first impulse was to turn around and go home. (After all, it's hard to have diplomatic relations with mindless savages who eat your diplomats.) Their second impulse was to try to fix us. Now, a century later, human beings might not be what they once were, but at least they're no longer tryiying to eat everyone. Mostly."--Jacket flap.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.