Life is unexceptional for Paul in his small, marshland town of Delisle Mississippi. The frequent night terrors were about the height of excitement for him. However, his life will change forever after witnessing an unspeakable, gruesome tragedy. The event sparks to life something hidden inside Paul. The line between reality and dream become blurred as his night terrors begin intertwining with everything around him. As the horrors once confined to his dreams begin to dance into his waking life; Paul struggles to cling to the delicate fabric of his sanity. With the world around him quickly unraveling; Paul must come to terms with this new reality, or face losing everything he loves.

Genèse 1 1.1 Nan konmansman, Bondye kreye syèl la ak latè a. 1.2 Men latè pa t' gen fòm, li pa t' gen anyen sou li. Fènwa te kouvri toupatou. Lespri Bondye t'ap plane sou dlo ki te kouvri tout latè. 1.3 Bondye di. Se pou limyè fèt. Epi limyè te fèt. 1.4 Bondye wè limyè a te bon. Bondye mete limyè a yon bò, li mete fènwa a yon lòt bò. 1.5 Bondye rele limyè a lajounen, li rele fènwa a lannwit. Yon lannwit pase, yon maten rive. Se te premye jou a.

Contributions by Jônathas Miranda de Araújo, Guillaume de Syon, Hugo Frey, Kenan Koçak, Andrei Molotiu, Annick Pellegrin, Benjamin Picado, Vanessa Meikle Schulman, Matthew Screech, and Gwen Athene Tarbox As the creator of Tintin, Hergé (1907–1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the “clear line” in cartooning, this edited volume shows how his life and art turned out much more complicated than his method. The book opens with Hergé’s aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated. Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume’s range will shape the study of Hergé for many years to come.

In English-speaking countries, Francophone comic strips like Hergés's Les Aventures de Tin Tin and Goscinny and Uderzo's Les Aventures d'Asterix are viewed—and marketed—as children's literature. But in Belgium and France, their respective countries of origin, such strips—known as bandes dessinées—are considered a genuine art form, or, more specifically, "the ninth art." But what accounts for the drastic difference in the way such comics are received? In Masters of the Ninth Art, Matthew Screech explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tin Tin and Asterix, Screech considers other major comics artists such as Jacque Tardi, Jean Giraud, and Moebius, assessing in the process their role in Francophone literary and artistic culture. Illustrated with images from the artists discussed, Masters of the Ninth Art will appeal to students of European popular culture, literature, and graphic art.

Haitian Creole (HC) is spoken by approximately 11,000,000 persons in Haiti and in diaspora communities in the United States and throughout the Caribbean. Thus, it is of great utility to Anglophone professionals engaged in various activities—medical, social, educational, welfare— in these regions. As the most widely spoken and best described creole language, a knowledge of its vocabulary is of interest and utility to scholars in a variety of disciplines. The English-Haitian Creole Bilingual Dictionary (EHCBD) aims to assist anglophone users in constructing written and oral discourse in HC; it also will aid HC speakers to translate from English to their language. As the most elaborate and extensive linguistic tool available, it contains about 30 000 individual entries, many of which have multiple senses and include subentries, multiword phrases or idioms. The distinguishing feature of the EHCBD is the inclusion of translated sentence-length illustrative examples that provide important information on usage.

The Legendary Intellectual and Raconteur Talks to Hal Foster, Walt Kelly, Harvey Kurtzman, Howard Chaykin, Robert Crumb, and Other Artists.

A Grammar of rGyalrong, Jiǎomùzú (Kyom-kyo) dialects. A Web of Relations is the first full length description in English of a rGyalrong language. Marielle Prins describes the phonology, morphology and syntax for one variety of these under-researched and threatened languages. From a host of examples and texts emerges a clear picture of natural language use, creating an enduring record and a great resource for comparative and diachronic linguists. Careful analysis of the data uncovers the web of relations between individuals and all entities in their environment, to which the rGyalrong people attach great importance. The informative, clear style of writing makes this book a treasure trove for linguists as well as other interested readers.