In this deliciously strange debut collection, Leon Craig draws on folklore and gothic horror in refreshingly inventive ways to explore queer identity, love, power and the complicated nature of being human. Some say that hell is other people and some say hell is loneliness . . . In the thirteen darkly audacious stories of Parallel Hells we meet a golem, made of clay, learning that its powers far exceed its Creator's expectations; a ruined mansion which grants the secret wishes of a group of revellers and a notorious murderer who discovers her Viking husband is not what he seems. Asta is an ancient being who feasts on the shame of contemporary Londoners, who now, beyond anything, wishes only to fit in with a group of friends they will long outlive. An Oxford historian, in bitter competition with the rest of her faculty members, discovers an ancient tome whose sinister contents might solve her problems. Livia orchestrates a Satanic mass to distract herself from a recently remembered trauma and two lovers must resolve their differences in order to defy a lethal curse.

Four friends from wildly different backgrounds have bonded over Dungeons & Dragons since the sixth grade. Now they're facing senior year and a major shift in their own universes. Math whiz Archie is struggling with his parents' divorce after his dad comes out as gay. Mari is terrified of her adoptive mother's life-altering news. Dante is carrying around a huge secret that is proving impossible to keep hidden. And when Sam gets dumped by the love of his life, everyone is ready to join him on a cross-country quest to win her back. The four quickly discover that the road is not forgiving, and that real life is no game. They must face a test of friendship where the stakes are more than just a roll of the dice--they are life and death.

The streets of the Motor City have never been so mean as P.I. Ben Perkins tracks a missing boy for a dying father. But soon he finds himself tangled in a nest of Skinheads dedicated to racial hatred and offing Ben as soon as possible.

It was December 3, 1943, and American warplanes were on assignment over Nazi Germany. Sergeant William Rasmussen was the ball turret gunner on the Hell’s Belle, a B-17 heavy bomber. During one of its missions, the Belle was shot down and the captured American flyers were sent to the notorious German prison camp Stalag 17B. In Stalag the American prisoners of war had to deal with the harsh rules imposed by the German Commandant as well as deplorable living conditions: filth, bitter cold, starvation and disease. Told through the eyes of one young flyer, the book has non-stop action, emotion and humor, and captures the upbeat and undefeatable spirit of America’s finest young men who served the United States during WWII. RANDALL L. RASMUSSEN, M.D. used his father’s memoirs, “From a B-17 to Stalag 17B,” as the basis for this book. Dr. Rasmussen also explored William Rasmussen’s notes, the verbal history that he recorded at the local library, research material, and recollections of the narratives he heard his father tell so many times over the years. William Rasmussen was a popular guest speaker at press clubs, library clubs and service organizations in Michigan’s lower peninsula near his home. His narratives were enjoyed immensely since he had a special gift of being able to captivate audiences as they shared his experiences flying over Nazi Germany and being a prisoner of war.

All You Want to Know About Hell breaks down the three most popular views on hell and tells us what the Bible really says about this terrifying and mystifying place. It is an undeniable fact that the very concept of hell is shrouded in mystery. We know what books and movies tell us hell is like, but we're left with so many questions. Is hell simply a place where sinners are sent to suffer for their sins, or is it more than that? How could a loving God send anyone to hell? Does the Bible give us a clear and consistent picture of hell? What does the existence of hell tell us about God's character? Steve Gregg--author of Revelation: Four Views--will take you on a tour of the three most popular views on hell and walk you through a clear explanation of what Scripture really says. From the "traditional" view of hell as a place of eternal torment to the early Christian view that hell is a place of suffering intended to purge sin and to bring about repentance, no other book gives such in-depth biblical insight into the truths about hell that are hidden in all the hype. All You Want to Know About Hell is an accessible and interesting read for laypeople, pastors, and scholars alike.

The Union of Arcana has become the most powerful civilization in human history, expanding through the portals linking parallel universes and laying claim to one uninhabited planet after another. But now the Union's scouts have discovered a new portal, on the far side of which lies a shattering revelation.

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.