This early work by Abraham Grace Merritt was originally published in 1918 and we are now republishing it with a brand new introductory biography. 'The People of the Pit' is a fantasy adventure of two gold prospectors who discover mysterious people who live down a mine. It tells the tale of adventurous explorers who discover an unknown world. Abraham Grace Merritt - also known by his byline, A. Merritt - was born on the 20th January, 1884 in New Jersey, America. Merritt's stories typically revolved around conventional pulp magazine themes. His heroes are gallant Irishmen or Scandinavians, his villains treacherous Germans or Russians and his heroines often virginal, mysterious and scantily clad. Merritt married twice, once in the 1910s to Eleanore Ratcliffe, with whom he raised an adopted daughter, and again in the thirties to Eleanor H. Johnson.

The hugely illuminating story of how a popular breed of dog became the most demonized and supposedly the most dangerous of dogs—and what role humans have played in the transformation. When Bronwen Dickey brought her new dog home, she saw no traces of the infamous viciousness in her affectionate, timid pit bull. Which made her wonder: How had the breed—beloved by Teddy Roosevelt, Helen Keller, and Hollywood’s “Little Rascals”—come to be known as a brutal fighter? Her search for answers takes her from nineteenth-century New York City dogfighting pits—the cruelty of which drew the attention of the recently formed ASPCA—to early twentieth‑century movie sets, where pit bulls cavorted with Fatty Arbuckle and Buster Keaton; from the battlefields of Gettysburg and the Marne, where pit bulls earned presidential recognition, to desolate urban neighborhoods where the dogs were loved, prized—and sometimes brutalized. Whether through love or fear, hatred or devotion, humans are bound to the history of the pit bull. With unfailing thoughtfulness, compassion, and a firm grasp of scientific fact, Dickey offers us a clear-eyed portrait of this extraordinary breed, and an insightful view of Americans’ relationship with their dogs.

Like his more famous contemporary Upton Sinclair, American author BENJAMIN FRANKLIN NORRIS, JR. (1870-1902) also highlighted the corruption and greed of corporate monopolies in the late 19th and early 20th centuries... themes that continue to make his work riveting reading more than a century later. The Pit, first published in 1903, is a fictional narrative of the dealing in the Chicago wheat pit, focusing on speculator Curtis Jadwin, who is so addicted to his own greed that it becomes his downfall. The second part of Norris's projected "Trilogy of the Epic of the Wheat," *The Pit is preceded by 1901's The Octopus, also available from Cosimo. (Norris died before he could write the third volume, The Wolf.)

CLASSIC EARLY HORROR IN THE STYLE OF MR JAMES BY A FRIEND AND COLLEAGUE "The haunted house story becomes a real nerve-shredder..." 'Adrian Ross' was a great name to conjure with in the early years of the 20th century. A founding father of 'musical comedy', this celebrated librettist wrote over two thousand lyrics and worked on around sixty popular musicals, including the hugely successful English versions of The Merry Widow and Lilac Time. In his completely different earlier life, under his own name of Arthur R. Ropes, he was a multi-talented Cambridge don, a Senior Fellow at King's College during the 1880s, alongside M.R. James. He composed two impressive works of supernatural horror fiction - both narrated by Cambridge scholars - which appear here together in one volume for the first time. Ross and James were among the first writers of the late nineteenth century who moved away from the familiar traditional Victorian ghosts to the much stranger world of centuries-old demons, all extremely dangerous and horrifying, defying any clear description. For example, the traditional haunted house tale takes a hideous descent into grave terror here. While the Collected Ghost Stories of M.R. James have been widely available for decades, it is now time for the collected horror fiction of 'Adrian Ross' to be available for the present 21st century generation. OTHER RARE, CLASSIC HORROR LITERATURE FROM OLEANDER RANDALLS ROUND by Eleanor Scott (Cut & Paste 9780900891953 to search) TEDIOUS BRIEF TALES OF GRANTA AND GRAMARYE by Ingulphus (Cut & Paste 9780906672860 to search) STONEGROUND GHOST TALES by EG Swain (Cut & Paste 9780906672433 to search)

A coffee table book that catalogs the research of Howard Conyers, PhD through visual imagery of investigating the contributions of blacks in barbecue from 2013 to 2020. There are several essays that explains various perspectives of barbecue culture.

Five Nights at Freddy's fans won't want to miss this pulse-pounding collection of three novella-length tales that will keep even the bravest player up at night . . . What do you wish for most? It's a question that Oswald, Sarah, and Millie think they know the answer to. Oswald wishes his summer wasn't so boring, Sarah wishes to be beautiful, and Millie wishes she could just disappear from the face of the earth. But in the twisted world of Five Nights at Freddy's, their hearts' deepest desires have an unexpected cost.In this volume, Five Nights at Freddy's creator Scott Cawthon spins three sinister novella-length stories from different corners of his series' canon, featuring cover art from fan-favorite artist LadyFiszi. Readers beware: This collection of terrifying tales is enough to unsettle even the most hardened Five Nights at Freddy's fans.

Written at the height of Stalin's first "five-year plan" for the industrialization of Soviet Russia and the parallel campaign to collectivize Soviet agriculture, Andrei Platonov's The Foundation Pit registers a dissonant mixture of utopian longings and despair. Furthermore, it provides essential background to Platonov's parody of the mainstream Soviet "production" novel, which is widely recognized as one of the masterpieces of twentieth-century Russian prose. In addition to an overview of the work's key themes, it discusses their place within Platonov's oeuvre as a whole, his troubled relations with literary officialdom, the work's ideological and political background, and key critical responses since the work's first publication in the West in 1973.