On a planet known as Terra Obscura, Tom Strong's heroic allies battle the forces of S.M.A.S.H. But after being out of action for decades and in suspended animation, can these heroes adjust to a strange world and its modern technology? This is a newcollection from legendary writer Alan Moore (WATCHMEN, V FOR VENDETTA) that ties into his popular series Tom Strong. Collections TERRA OBSCURA Vol. 1 #1-6 and Vol. 2 #1-6.

Advance-solicited - On sale April 14 - 336 pg, 7.0625" x 10.875" FC, $39.99 US Written by Alan Moore, Leah Moore & Peter Hogan - Art by Chris Sprouse, Shawn McManus & others - Cover by Chris Sprouse & Karl Story In these tales from issues #13-24, Tom faces off against the ruthless Paul Saveen, the Nazi super-woman Ingrid Weiss and more!

Spinning out of Alex Ross' Project Superpowers is the Black Terror — opening with this four-part story arc by Alex Ross, Jim Krueger, and Mike Lilly! This new story arc will lead directly in to Project Superpowers Chapter Two!

With the last person in her corner gone and the Order of St. George closing in, Erica finds herself totally alone and without a prayer. Can she take on the terrifying Doppelganger Duplicitype by herself, or is this the end of her story?

Jay Baruchel joins Chapterhouse to tell an epic origin story featuring Captain Canuck! "Sur Saray" is a story set during Tom Evans' time serving in the Afghanistan war. Tom has returned to active duty after going AWOL to rescue his brother from Site ALEPH, but his unit, the PCE Squad is folded into an unscrupulous mercenary platoon. Frustrated by the injustices he's witnessing on a daily basis, Tom begins slipping away by night, using his new powers to right the street-level wrongs the military is too unwieldy to effectively address.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

When Empire appeared in 2000, it defined the political and economic challenges of the era of globalization and, thrillingly, found in them possibilities for new and more democratic forms of social organization. Now, with Commonwealth, Michael Hardt and Antonio Negri conclude the trilogy begun with Empire and continued in Multitude, proposing an ethics of freedom for living in our common world and articulating a possible constitution for our common wealth. Drawing on scenarios from around the globe and elucidating the themes that unite them, Hardt and Negri focus on the logic of institutions and the models of governance adequate to our understanding of a global commonwealth. They argue for the idea of the “common” to replace the opposition of private and public and the politics predicated on that opposition. Ultimately, they articulate the theoretical bases for what they call “governing the revolution.” Though this book functions as an extension and a completion of a sustained line of Hardt and Negri’s thought, it also stands alone and is entirely accessible to readers who are not familiar with the previous works. It is certain to appeal to, challenge, and enrich the thinking of anyone interested in questions of politics and globalization.