When polite society becomes a thing of the past… Ian’s Shame has become his whole life. He used to be a pretty stand-up guy, until he got hurt. After the pain went away, Ian kept trying to get more pain pills. You should see who he hangs out with now. Michelle’s Luck has kept her alive through the looting and the chaos. Now that the monsters have crossed the pond, can it help her survive the zombie apocalypse? Michelle is hoping so; it’s all she has left. Monster Break-up might be a good metaphor for many ugly separations. In Allen’s case, both the monster and the separation are quite literal. It’s time he learns that zombie love is seldom a sweet entanglement. Monstrous Consequences is the fifth volume in the Zombie Zero short story collection. It details the events of the first outbreak in Europe during the global disaster documented in Zombie Zero: The First Zombie.

When polite society becomes a thing of the past... Ian's Shame has become his whole life. He used to be a pretty stand-up guy, until he got hurt. After the pain went away, Ian kept trying to get more pain pills. You should see who he hangs out with now. Michelle's Luck has kept her alive through the looting and the chaos. Now that the monsters have crossed the pond, can it help her survive the zombie apocalypse? Michelle is hoping so; it's all she has left. Monster Break-up might be a good metaphor for many ugly separations. In Allen's case, both the monster and the separation are quite literal. It's time he learns that zombie love is seldom a sweet entanglement. Monstrous Consequences is the fifth volume in the Zombie Zero short story collection. It details the events of the first outbreak in Europe during the global disaster documented in Zombie Zero: The First Zombie.

5. Zombie Evolution: A New World with or without Humans -- 6. Laughter and the Eco-horror Film: The Troma Solution -- 7. Parasite Evolution in the Eco- horror Film: When the Host Becomes the Monster -- PART 4: Gendered Landscapes and Monstrous Bodies -- 8. Gendering the Cannibal: Bodies and Landscapesin Feminist Cannibal Movies -- 9. American Mary and Body Modification: Nature and the Art of Change -- Conclusion: Monstrous Nature and the New Cli-Fi Cinema -- Filmography -- Notes -- Works Cited -- Index

In The Sacred Monstrous author Wendy Hamblet traces the historical and social fact of violence through the work of Girard, Bloch, Lorenz and Burket. She takes up the charge advanced by social theorists, anthropologists and others that violence is steeped in our being; it pervades our generations and is imbedded in the ethos of our modern institutions. Hamblet's discussion of human history re-frames our understanding of how violence works in history and society. The Sacred Monstrous is a salient work of continentally informed philosophy that contributes significantly to any discussion of violence and conflict in the social sciences.

This book examines the transformation of the figure of the stranger in the literature of the modern age in terms of liminality. As a ‘spectral monster’ that has a paradoxical and liminal relationship to both the sacred and the secular, the figure of the modern stranger has played a role in both adapting and shaping a culturally determined understanding of the self and the other. With the advent of modernity, the stranger, the monster, and the spectre became interconnected. Haunting the edges of reason while also being absorbed into ‘normal’ society, all three, together with the cyborg, manifest the vulnerability of an age that is fearful of the return of the repressed. Yet these figures can also become re-appropriated as positive symbols, able to navigate between the dangerous and chaotic elements that threaten society while serving as precarious and ironic symbols of hope or sustainability. The book shows the explanatory potential of focusing on the resacralizing – in a paradoxical and liminal manner – of traditionally sacred concepts such as ‘messianic’ time and the ‘utopian,’ and the conflicts that emerged as a result of secularized modernity’s denial of its own hybridization. This approach to modern literature shows how the modern stranger, a figure that is both paradoxically immersed and removed from society, deals with the dangers of failing to be re-assimilated into mainstream society and is caught in a fixed or permanent state of liminality, a state that can ultimately lead to boredom, alienation, nihilism, and failure. These ‘monstrous’ aspects of liminality can also be rewarding in that traversing difficult and paradoxical avenues they confront both traditional and contemporary viewpoints, enabling new and fresh perspectives suspended between imagination and reality, past and future, nature and artificial. In many ways, the modern stranger as a figure of literature and the cultural imagination has become more complicated and challenging in the (post)modern contemporary age, both clashing with and encompassing people who go beyond simply the psychological or even spiritual inability to blend in and out of society. However, while the stranger may be altering once again the defining or essentializing the figure could result in the creation of other sets of binaries, and thereby dissolve the purpose and productiveness of both strangeness and liminality. The intention of “Monstrous Liminality” is to trace the liminal sphere located between the secular and sacred that has characterized modernity itself. This space has consequently altered the makeup of the stranger from something external, into a figure far more liminal, which is forced to traverse this uncanny space in an attempt to find new meanings for an age that is struggling to maintain any.

Almost A Monster is author James T. Fraser's journey to understand, find peace and reconcile his inner monster with the physical and mental abuse he received in his youth. His debut novel is raw and powerful, speaking to that secret inner fear in us all. Through a myriad of poignant tales, one finds themselves drawn into the cause and effect of human hatred. Fraser unravels the puzzle of himself and encourages his readers to begin to "peel back the layers of the onion."

Perhaps because of the wisdom received from our Romantic forbears about the purity of the child, depictions of children as monsters have held a tremendous fascination for film audiences for decades. Numerous social factors have influenced the popularity and longevity of the monster-child trope but its appeal is also rooted in the dual concepts of the child-like (innocent, angelic) and the childish (selfish, mischievous). This collection of fresh essays discusses the representation of monstrous children in popular cinema since the 1950s, with a focus on the relationship between monstrosity and "childness," a term whose implications the contributors explore.