A harrowing new adventure featuring one of Marvel Comics' most enduring characters. Hounded by the U.S. Army for crimes he did not commit, the Hulk seeks refuge in an experimental procedure that will permanently transform him back to his human incarnation of Dr. Robert Bruce Banner--and be rid of his green-skinned alter ego forever. Chapter opening illustrations.

Ade Patience can see the future and it's destroying his life. When the seventeen-year-old Mantlo High School student knocks himself unconscious, he can see days and decades into his own future. Ade's the best of Denver's "divination" underground and eager to join the heralded Mantlo Diviners, a group of similarly enabled teens. Yet, unlike the Diviners, Ade Patience doesn't see the future out of curiosity or good will; Ade gives himself concussions because he's addicted to the high, the Buzz, he gets when he breaks the laws of physics. And while there have been visions he's wanted to change, Ade knows the Rule: You can't change the future, no matter how hard you try. His memory is failing, his grades are in a death spiral, and both Ade's best friend and his shrink are begging him to stop before he kills himself. Ade knows he needs to straighten-out. Luckily, the stunning Vauxhall Rodolfo has just transferred to Mantlo and, as Ade has seen her in a vision two years previously, they're going to fall in love. It's just the motivation Ade needs to kick his habit. Only things are a bit more complicated. Vauxhall has an addiction of her own, and, after a a vision in which he sees Vauxhall's close friend, Jimmy, drown while he looks on seemingly too wasted to move, Ade realizes that he must break the one rule he's been told he can't The pair must overcome their addictions and embrace their love for each other in order to do the impossible: change the future.

Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa. It offers historical contexts for discussions that have become increasingly urgent in recent years--the role of culture in a time of conflict and globalization--and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty. Based on collective input from numerous contributors and interlocutors, this volume brings together internationally renowned academics, critics, activists, filmmakers, artists, and other independent cultural practitioners to consider how new infrastructures and institutions can effectively emerge within such fraught and dynamic contexts. What is needed in terms of infrastructure for cultural production today, and how, crucially, can we speculatively propose new infrastructures and institutions in the context of present realities? Visual Culture in the Middle East Vol. 3 Supported by the Kamel Lazaar Foundation Contributors Leila Al-Shami*, Monira Al Qadiri, Hoor Al-Qasimi, Anahi Alviso-Marino, AMBS Architects, Stephanie Bailey, Eray Çayli, Rachel Dedman, Elizabeth Derderian, Anthony Downey, Karen Exell, Reema Salha Fadda, Wafa Gabsi, Hadia Gana, Adalet R. Garmiany, Baha Jubeh, Suhair Jubeh, Amal Khalaf, Kamel Lazaar, Jens Maier-Rothe, Guy Mannes-Abbott, Doreen Mende, Lea Morin, Jack Persekian, Wided Rihana Khadraoui*, Rijin Sahakian, Gregory Sholette, Tom Snow, Lois Stonock*, Nile Sunset Annex*, Ania Szremski, Christine Tohme, Toleen Touq, Williams Wells, Ala Younis, Yasmine Zidane (*online projects)

Looking at decolonization in the conditional tense, this volume teases out the complex and uncertain ends of British and French empire in Africa during the period of ‘late colonial shift’ after 1945. Rather than view decolonization as an inevitable process, the contributors together explore the crucial historical moments in which change was negotiated, compromises were made, and debates were staged. Three core themes guide the analysis: development, contingency and entanglement. The chapters consider the ways in which decolonization was governed and moderated by concerns about development and profit. A complementary focus on contingency allows deeper consideration of how colonial powers planned for ‘colonial futures’, and how divergent voices greeted the end of empire. Thinking about entanglements likewise stresses both the connections that existed between the British and French empires in Africa, and those that endured beyond the formal transfer of power.

Examines the first eight cinematic adaptations of Dick's fiction in light of their literary sources.

Dreamscapes of Modernity offers the first book-length treatment of sociotechnical imaginaries, a concept originated by Sheila Jasanoff and developed in close collaboration with Sang-Hyun Kim to describe how visions of scientific and technological progress carry with them implicit ideas about public purposes, collective futures, and the common good. The book presents a mix of case studies—including nuclear power in Austria, Chinese rice biotechnology, Korean stem cell research, the Indonesian Internet, US bioethics, global health, and more—to illustrate how the concept of sociotechnical imaginaries can lead to more sophisticated understandings of the national and transnational politics of science and technology. A theoretical introduction sets the stage for the contributors’ wide-ranging analyses, and a conclusion gathers and synthesizes their collective findings. The book marks a major theoretical advance for a concept that has been rapidly taken up across the social sciences and promises to become central to scholarship in science and technology studies.