Deep within you is a center of power so potent and strong it defies imagination. It is within this dark place where you can tap into and harness your magick and be among the Children of Juru (Witches of the Night). The Valley of Juru in Kryptonian myth is an allegory of the shadow realms within the subconscious, it is here where your magic power resides. It is here at this new depths and places many people fear to go. Deep within our psyches, the unconscious holds our forbidden feelings, secret wishes, and creative urges. Over time, these "dark forces" take on a life of their own and form the shadow―a powerful force of unresolved inner conflicts and unexpressed emotions that defies our efforts to control it. By applying the teachings, one can harness this hidden realm and master it. The use of black magick can be applied to the real world to fulfill your dreams.

The High Kingdom has known twenty years of peace. The true reason unknown to everyone save Sultan Vilos the First. At the height of The Crown War, Vilos made a deal with a powerful sorcerer. Vilos’s reign would be secured in exchange for his first born daughter. The sorcerer promised to come for the princess on her eighteenth birthday. That day is today. The sorcerer is coming to claim his due and if he doesn’t get it, all Hell is going to break loose.

The Reform and Opening-up of China since the late 1970s has not only transformed the economic and political situation of the country but also transformed the Chinese film industry. This volume focuses on the 40 years of the history of Chinese film in the post-Mao era. As all aspects of film production, distribution, and exhibition have been commercialized, Chinese film has become an industry of immense scale and has grown by leaps and bounds. Meanwhile, contemporary Chinese film is marked by a new zeitgeist, with Chinese film closely integrated with Chinese society and the economy. The author argues that the Chinese film industry clearly stands at a turning point where the future of Chinese film and the way to further awaken, change, and shape film production have become important issues worth consideration in contemporary film history. The book will be an essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers to develop a comprehensive understanding of Chinese film.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

This meticulously edited horror collection is formatted for your eReader with a functional and detailed table of contents: Mary Shelley: Frankenstein The Mortal Immortal… John William Polidori: The Vampyre Bram Stoker: Dracula The Jewel of Seven Stars… Gaston Leroux: The Phantom of the Opera Marjorie Bowen: Black Magic James Malcolm Rymer & Thomas Peckett Prest: Sweeney Todd, the Demon Barber of Fleet Street Washington Irving: The Legend of Sleepy Hollow Charles Dickens: The Mystery of Edwin Drood Oscar Wilde: The Picture of Dorian Gray Edgar Allan Poe: The Tell-Tale Heart The Murders in the Rue Morgue The Black Cat… Henry James: The Turn of the Screw The Ghostly Rental… H. P. Lovecraft: The Dunwich Horror The Shunned House… Algernon Blackwood: The Willows A Haunted Island Ancient Sorceries… Théophile Gautier: Clarimonde The Mummy's Foot Richard Marsh: The Beetle Arthur Conan Doyle: The Hound of the Baskervilles The Silver Hatchet… Joseph Sheridan Le Fanu: Carmilla Uncle Silas… Ann Radcliffe: The Mysteries of Udolpho The Italian M. R. James: Ghost Stories of an Antiquary A Thin Ghost and Others Wilkie Collins: The Haunted Hotel The Devil's Spectacles Émile Erckmann & Alexandre Chatrian: The Man-Wolf The Waters of Death… Amelia B. Edwards: Monsieur Maurice The Phantom Coach… Mary E. Wilkins Freeman: The Wind in the Rose-bush The Shadows on the Wall Arthur Machen: The Great God Pan The Terror… William Hope Hodgson: The House on the Borderland The Night Land M. P. Shiel: Shapes in the Fire Ralph Adams Cram: Black Spirits and White Grant Allen: The Reverend John Creedy Wilhelm Hauff: The Severed Hand Adelbert von Chamisso: Shadowless Man Edward Bulwer-Lytton: The Haunted and the Haunters… Robert E. Howard: Beyond the Black River Devil in Iron People of the Dark David Lindsay: The Haunted Woman Marie Belloc Lowndes: From Out the Vast Deep Edward Bellamy: Dr. Heidenhoff's Process The Ghost in the Cap'n Brown House (Harriet Beecher Stowe) The Apparition of Mrs. Veal (Daniel Defoe) When the World Was Young (Jack London) Mr. Bloke's Item (Mark Twain)…

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.