Ten years in the making, Hersh and Throwing Muses 32-track album Purgatory/Paradise is the centerpiece of this book which also contains more than two dozen photographs and artwork by Kristin Hersh and band member Dave Narcizo, lyrics for each song, stories and essays that accompany each track written by Hersh, and instructions for downloads of exclusive content, including demos and outtakes.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Collects Daredevil (1964) #345-364. Taken to the edge! Daredevil’s armored gray costume is no more — but who is that running around in the original yellow suit? And the classic red? Is it Matt Murdock? Jack Batlin? Or someone else?! The Man Without Fear faces an identity crisis — and it won’t be easy to put his broken life back together! If he can, a new day will dawn for Nelson & Murdock — unless hotshot lawyer Rosalind Sharpe has other ideas! Faces from Matt’s past resurface, including his mother, former lover Black Widow and dead mentor Stick — but there’s something different about Spider-Man! Meanwhile, villains line up to take on Daredevil — like Pyro, the Enforcers, the Absorbing Man and Mysterio! Matt faces one of his hardest cases: defending the murderous Mister Hyde! And DD pulls an all-nighter battling Insomnia!

After surviving his trip to Hell, Dante's unforgettable adventure continues to Purgatory and Paradise, as illustrated by Gustave Doré. Experience the thrilling conclusion of Dante Alighieri's Divine Comedy as Dante continues to delve into the afterlife in this visual masterpiece filled with energetic imagery by the prodigal French artist Gustave Doré. This Retro Restored Special Edition includes: -The original type font -Classic page layouts -Crisp digitally re-scanned and enhanced images -8 1/2" x 11" printing -Bold new cover design -Introduction -Rare Altemus' Edition master source quality Gustave Doré's artwork explodes with visions that remind the reader of Inferno's eternal agony but then take them to a happier place. Purgatory and Paradise show the depth of Doré's talents as heavenly scenes of grandeur erupt from the page with intricate details that can take hours to fully absorb. Originally written in the 14th century, Dante Alighieri's Divine Comedy consists of three parts that tell the story of Dante's trip through the afterlife. After enduring the savage spectacle of Hell in "Inferno", Dante continues through Purgatory to the nine celestial spheres of Heaven in Paradise. About the Artist: Master artist Gustave Dorè (1832-1883), known for the lavish illustrations in Dante's Inferno, Paradise Lost, and Don Quixote, depicted the ending of Dante's journey in a unique way that only he could. Dante and friends gaze at scenes of horror and splendor that showcase Dorè's immense talents and mastery of human anatomy, background detail, shading, and layout. About the Publisher: The CGR Publishing Restoration Workshop uses a vast array of computers and digital scanners to restore, preserve, and enhance the classic works of writers and artists from the 19th century. Each new release includes display-quality covers, enlarged covers, and retro fonts. Select books include Dante's Inferno Retro Hell-Bound Edition, Gustave Dorè's London: A Pilgrimage, The Complete Book of Birds, A Life of George Westinghouse, The Clock Book: A Detailed Illustrated Collection of Classic Clocks, The Aeroplane Speaks, and much more.

The claim of this book is that it is a precondition for Heaven that victims experience an eschatological healing of their other-inflicted wounds. Nathan O'Halloran, SJ, argues that the best theological space in which to locate this eschatological healing is in what he terms Paradise-in-Purgatory. The doctrine of Purgatory developed as a postmortem theological category for addressing sins committed after baptism and for which adequate penance has not been completed before death. In its full doctrinal articulations at Lyons II, Florence, and Trent, Purgatory is a doctrine concerned with personal, self-inflicted sin. Victims, on the other hand, require healing from other-inflicted sin rather than self-inflicted sin. For this reason, a certain expansion of this Catholic doctrine is required to make theological space for victims. O'Halloran argues that he has found that theological space within the Church's ample tradition. The wellspring from which the doctrine of Purgatory emerged contains a richer content than has been represented thus far by conciliar definitions. Paradise in Purgatory maintains that the soteriological logic out of which Purgatory developed can be extended also to the postmortem healing of victims, and the soteriological logic of the New Testament supports this conclusion. Using as fundamental touchstones the wiping away of victims' tears in the Book of Revelation, and the healing of Dinocrates through the prayers of his sister Perpetua in the Passion of Perpetua and Felicity, O'Halloran argues that victims must have an opportunity to experience full postmortem salvation from other-inflicted sin. The volume concludes that Purgatory can be theologically expanded to include a Paradise-in-Purgatory, i.e., a process that heals the other-inflicted wounds of sin which victims carry with them through death. The wounds of victims cannot be eschatologically discarded but must be subjected to the healing salvation which Christ came to offer.

This edition of the complete Divine comedy in English features Longfellow's translation and engravings by Gustave Doré.

“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel. Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.