NEW YORK TIMES, USA TODAY, and PUBLISHERS WEEKLY NATIONAL BESTSELLER If you don’t understand communist revolutions, you aren’t ready for what’s coming. The old rules are over. The old order is over. Accusations are evidence. Activism means bigotry and hate. Criminals are allowed to roam free. Citizens are locked up. An appetite for vengeance is unleashed—to deplatform, debank, destroy. This is the daily news, yet none of it’s new. Patterns from the past make sense of our present. They also foretell a terrifying future we might be condemned to endure. For nearly 250 years, far-left uprisings have followed the same battle plans—from the first call for change to last innocent executed, from denial a revolution is even happening to declaration of the new order. Unhumans takes readers on a shocking, sweeping, and succinct journey through history to share the untold stories of radical takeovers that textbooks don’t teach. And there is one conclusion: We're in a new revolution right now. But this is not a book about ideology or politics. Unhumans reveals that communism, socialism, Marxism, and all other radical-isms are not philosophies but tactics—tactics that are specifically designed to unleash terror on everyday people and revoke their human rights to life, liberty, and property. These are the forces of unhumanity. This is what they do. Every. Single. Time. Unhumans steals their playbook, breaks apart their strategies piece by piece, and lays out the tactics of what it takes to fight back—and win, using real-world examples. Unhumans is an essential read for every concerned citizen both in the US and worldwide. We must stop what is coming.

Inspector Hobbes and the Blood, a fast-paced comedy crime fantasy, set in the English Cotswolds, recounts the adventures of a monstrous police detective, during grave, ghoulish, goings-on. A mad pseudo vampire with the dagger of Vlad Tepes is behind robbery, and murder. It is a funny tale with a troll, human sacrifice, blood and great cooking.

It is widely acknowledged that the unhuman plays a significant role in the definition of humanity in contemporary thought. It appears in the thematization of "the Other" in philosophical, psychoanalytic, anthropological, and postcolonial studies, and shows up in the "antihumanism" associated with figures such as Heidegger, Foucault, and Derrida. One might trace its genealogy, as Freud did, to the Copernican, Darwinian, and psychoanalytic revolutions that displaced humanity from the center of the universe. Or as Karl Marx and others suggested, one might lose human identity in the face of economic, technological, political, and ideological forces and structures. With dazzling breadth, wit, and intelligence, Unhuman Culture ranges over literature, art, and theory, ancient to postmodern, to explore the ways in which contemporary culture defines humanity in terms of all that it is not. Daniel Cottom is equally at home reading medieval saints' lives and the fiction of Angela Carter, plumbing the implications of Napoleon's self-coronation and the attacks of 9/11, considering the paintings of Pieter Bruegel and the plastic-surgery-as-performance of the body artist Orlan. For Cottom, the unhuman does not necessarily signify the inhuman, in the sense of conspicuous or extraordinary cruelty. It embraces, too, the superhuman, the supernatural, the demonic, and the subhuman; the supposedly disjunctive animal, vegetable, and mineral kingdoms; the realms of artifice, technology, and fantasy. It plays a role in theoretical discussions of the sublime, personal memoirs of the Holocaust, aesthetic reflections on technology, economic discourses on globalization, and popular accounts of terrorism. Whereas it once may have seemed that the concept of culture always, by definition, pertained to humanity, it now may seem impossible to avoid the realization that we must look at things differently. It is not only art, in the narrow sense of the word, that we must recognize as unhuman. For better or worse, ours is now an unhuman culture.

KINNOSUKE NATSUME, better known by his pen-name “Soseki,” was one of, if not, greatest fiction writers, modern Japan has produced. A man of solid university education unlike many another of the fraternity, he established a school of his own, in point of originality in style, and what is more important, in the angle from which he observed human affairs. More points of difference about him from others were the complete absence in his case of romantic elements and adversities, almost always inseparable from the early life of literary geniuses, and the sudden blazing into fame from obscurity, except as a popular school teacher and then a university professor, with some partiality for the “hokku” school of poetry. Soseki Natsume was born in January, 1867, a third son of an old family in Kikui-cho, Tokyo. His education after a primary school course took a deviation, for some years, into the old-fashioned study of Chinese classics. It was probably then that he laid foundation, perhaps unknown to himself, of the development of his literary talent, that later blossomed out so picturesquely; and he was different, also, in this respect from the later Meiji era writers, who went, many of them, through a Christian mission school, and were all under the influence of Western literature. In 1884, our future novelist entered the Yobimon College, intending to become an architect; but later changing his mind he took a course in the Literature Department of Tokyo Imperial University, from which he graduated in 1892. While in the university, Soseki formed a close friendship with Shiki Masaoka, which lasted until the latter’s death separated them in 1904. Shiki Masaoka was the greatest figure in the revival of hokku poetry in rejuvenated Japan, and Soseki’s association with him accounts for the novelist’s mastery of that branch of literature. After finishing his post-graduate course in the university in 1895, Kinnosuke Natsume taught successively in Matsuyama Middle School in Iyo, and the Fifth High School in Kumamoto, making no name particularly for himself except as a bright, promising scholar. He took a wife unto himself in 1896, and was four years later sent by the Government to England to study English literature. In three years he returned home to be appointed Lecturer in Tokyo Imperial University. About this time his “London Letters” in Shiki Masaoka’s Hokku magazine, the Hototogisu, began to attract attention; but it was not till the publication of the first book of maiden work “I Am A Cat”, that he suddenly entered the temple of fame. That was in 1905. The “Cat” with its perfect novelty of conception, style, study of human nature, etc., made him, at once, a star of first magnitude in the literary firmament, and from that time on, for the next five years, his productions, long and short, followed in a constant stream, including “Botchan” (Innocent in Life); “Kusamakura” (Unhuman Tour); “Sanshiro”; “Kofu” (The Miner); “Hinageshi” (The Corn-poppy) and many others, some, perhaps many, of which are assured an immortal life.

After failing her mission and losing two of her friends, Blythe Stargazer has never been more afraid. Beaten and broken, Blythe finds herself questioning her actions, fearing the consequences of her decisions and what they will mean for others. But when Blythe becomes entangled in the banishment of a friend and the deaths of the Camp Councillors, Blythe quickly learns that she has no choice; She has to make a decision, even if her mind tells her that the decision that needs to be made is wrong. With the world in shambles and hope seemingly nonexistent, Seth has spent the past twenty years in self-isolation. But when an old friend from a life Seth would rather forget shows up at his door asking for a favor, Seth finds that he can’t refuse. Traveling across the country, Seth helps his friend uncover the truth about a potential threat to his family, only to discover a much bigger threat than either of them possibly imagined.

In a post-apocalyptic world 150 years after the fall of Mankind, the Forgers are one of the last groups fighting against what all thought was an inevitable phenomenon: human extinction. Now, after years of struggling against demonic creatures, natural elements, and violent gangs, the Forgers are in the midst of rebuilding a small and peaceful civilization in what was once known as Mansfield, Ohio. Among these survivors lives a teenage girl named Blythe Stargazer: a survivor determined to help her group by becoming one of their best warriors and scouts. But, in order to achieve her goals, Blythe must complete one last mission: she must scout out a dark and mysterious building outside the camp's walls, where flesh-eating beasts, renegades, and untold secrets lurk in the shadows. It is there, in the ruins of an empire long forgotten and in the dawn of a new age, that Blythe learns one unforgivable truth: when faced with life and death, all can be monsters.

Turning an anthropological eye toward cyberspace, Human No More explores how conditions of the online world shape identity, place, culture, and death within virtual communities. Online worlds have recently thrown into question the traditional anthropological conception of place-based ethnography. They break definitions, blur distinctions, and force us to rethink the notion of the "subject." Human No More asks how digital cultures can be integrated and how the ethnography of both the "unhuman" and the "digital" could lead to possible reconfiguring the notion of the "human." This provocative and groundbreaking work challenges fundamental assumptions about the entire field of anthropology. Cross-disciplinary research from well-respected contributors makes this volume vital to the understanding of contemporary human interaction. It will be of interest not only to anthropologists but also to students and scholars of media, communication, popular culture, identity, and technology.