1977 is a strange year. Things beyond human understanding have begun to surface, threatening the peace and leaving behind an endless trail of blood. When such incidents arise, it is down to Scotland Yard’s Special Division and their Demon Hunter in residence, John Sinclair, to set things right. But Sinclair is haunted by demons of his own, ones which rival the dark forces attacking innocents around him. Can he conquer one to vanquish the other?

There are so many ways a person can die. Sooner or later, everyone's number is up, and no one comes back ... or do they? On a cold November night, a grieving father picks up his hunting rifle and shoots his only daughter in the head. The police are mystified. Why was the girl even at the house? Why wasn't she at the mortuary ... awaiting her burial? After all, Mary Winston had been declared dead two days before. The incident is only the first in a series of mysterious attacks in the small Scottish town of Middlesbury. Dead bodies go missing. A cemetery caretaker is devoured alive. An ancient curse is about to be unleashed ... Detective Chief Inspector John Sinclair works for Scotland Yard's Special Division, an elite unit that deals with extraordinary cases. DCI Sinclair is a battle-hardened veteran of Afghanistan, a man haunted by the past. But nothing could have prepared him for the horrors he's about to face. He goes to Scotland to investigate the gruesome murders but what he finds is a town in the grip of fear. The people of Middlesbury are harboring a secret. A secret that is about to explode ... +++ "A hero so suave and dashing, he makes James Bond look like a grubby detective sergeant, a plot that reads like it came straight from the great vaults of Hammer, and enough action and derring do to keep even the most ardent pulp fan smiling with glee. [...] A tight, punchy read that heralds the start of a great new series of pulp horror. Highly recommended." Ginger Nuts of Horror. -- "John Sinclair" is the relaunch of Europe's longest running horror series. Originally conceived in 1973 by Jason Dark and still going strong, the "John Sinclair" novellas are firmly rooted in the finest pulp traditions: true page turners with spine-tingling suspense, exquisite gore, and a dash of adventure. -- For fans of the dark visions of Stephen King, Clive Barker and the "X-Files" and the fast-paced action and globe-trotting excitement of James Bond. -- Gabriel Conroy was born in Los Angeles, California, in 1967. After high school, he joined the armed forces and was stationed in Germany for several years. He discovered his love for writing while traveling through Europe. When he returned to the States, he studied Journalism at Los Angeles City College and UCLA, and currently works as a freelance journalist, writer, and translator. Mr. Conroy is married and has a dog and a cat.

An Unauthorized Guide To The Complete Radio Series 1988 - 1992 All 218 episodes catalogued and researched plus: * complete unreleased tracks index * comparison of Bag Records bootleg tracks and Lost Lennon Tapes broadcast versions * comparison of commercially released tracks and Lost Lennon Tapes broadcast versions

Includes its Report, 1896-19 .

“One of our greatest thinkers” on death presents a radical new approach to thinking about dying and the human corpse (Caitlin Doughty, mortician and bestselling author of Smoke Gets in Your Eyes). A fascinating exploration of the relationship between technology and the human corpse throughout history—from 19th-century embalming machines to 21st-century death-prevention technologies. Death and the dead body have never been more alive in the public imagination—not least because of current debates over modern medical technology that is deployed, it seems, expressly to keep human bodies from dying, blurring the boundary between alive and dead. In this book, John Troyer examines the relationship of the dead body with technology, both material and conceptual: the physical machines, political concepts, and sovereign institutions that humans use to classify, organize, repurpose, and transform the human corpse. Doing so, he asks readers to think about death, dying, and dead bodies in radically different ways. Troyer explains, for example, how technologies of the nineteenth century including embalming and photography, created our image of a dead body as quasi-atemporal, existing outside biological limits formerly enforced by decomposition. He describes the “Happy Death Movement” of the 1970s; the politics of HIV/AIDS corpse and the productive potential of the dead body; the provocations of the Body Worlds exhibits and their use of preserved dead bodies; the black market in human body parts; and the transformation of historic technologies of the human corpse into “death prevention technologies.” The consequences of total control over death and the dead body, Troyer argues, are not liberation but the abandonment of Homo sapiens as a concept and a species. In this unique work, Troyer forces us to consider the increasing overlap between politics, dying, and the dead body in both general and specifically personal terms.