Fantomas returns to strike fear into the hearts of American readers with a new, even more vicious and mystifying series of crimes, and again comes up against his arch nemesis, Inspector Juve."

The first book in the classic vigilante action series from a “writer who spawned a genre” (The New York Times). Overseas, Mack Bolan was dubbed “Sgt. Mercy” for the compassion he showed the innocent. On the home front, they’re calling him the Executioner for what he’s doing to the guilty. In the jungles of Southeast Asia, American sniper Mack Bolan honed his skills. After twelve years, with ninety-five confirmed hits, he returns home to Massachusetts. But it’s not to reunite with his family, it’s to bury them—victims in a mass murder/suicide. Even though Bolan’s own father pulled the trigger, he knows the old man was no killer. He was driven to madness by Mafia thugs who have turned his idyllic hometown into a new kind of war zone. Duty calls . . . Introducing an action hero “who would make Jack Reacher think twice,” this is the first book in the iconic series of vigilante justice that has become a publishing phenomenon (Empireonline.com). With more than two hundred million Executioner books sold since its debut, the series continues to stimulate. Gerry Conway, cocreator of Marvel Comics’ The Punisher, credits the Executioner as “my inspiration . . . that’s what gave me the idea for the lone, slightly psychotic avenger.” The series is also now in development as a major motion picture. War Against the Mafia is the 1st book in the Executioner series, but you may enjoy reading the series in any order.

Provides an introduction to American pulp fiction during the twentieth century with brief author biographies and lists of their works.

In Cambodia, between 1975 and 1979, some two million people died at the hands of the Khmer Rouge. Twenty years later, not one member had been held accountable for the genocide. Haunted by an image of one of them, Comrade Duch, photographer Nic Dunlop set out to bring him to life, and thereby to account. "I needed to understand how a movement that laid claim to a vision of a better world could instead produce a revolution of unparalleled ferocity; how a seemingly ordinary man from one of the poorer parts of Cambodia could turn into one of the worst mass murderers of the twentieth century:" Weaving seamlessly between past and present, Dunlop unfolds the history of Cambodia as a lens through which to understand its tragic last forty years. He makes clear how much responsibility the United States must share, through failed political alliances and the illegal bombing of Cambodia, for the bloodshed that followed. Guided by witnesses, Dunlop teases out the details of Duch's transformation from sensitive schoolchild and dedicated teacher to the revolutionary killer who later slipped quietly back into village life. From the temples of Angkor to the prisons of Pol Pot's regime, to his unexpected meeting with Duch himself, Dunlop's special vision as a photographer enlarges our own. The Lost Executioner is a blend of history and testimony-and a reminder that, whether in the killing fields of Cambodia or the deserts of Darfur, if we turn our backs on genocide, we must bear a collective guilt.

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire. The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann's Joseph and His Brothers, J. R. R. Tolkien's Lord of the Rings, Marvel's Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin's earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

""with poetry and poets, with art, it seems a veritable probability that in the ""produce"" of this art there are personal developments going on which affect this art and making it a ""developmental"" ""work in progress"" even if the art executed, in this instance fullblooded poetry, is expressed in a continuous stream of perfectly formed and inherently consistent isles of artistry, expression, expulsion even exorcism orexoticism. this is in my opinion highly the case with michael mcaloran's poetry and the steady produce of high quality immanently consistent collections of poems resulting also subsequently in this striking chromatography of books."" from the introduction by Aad de Gids