Albert Simpkins, a mild-mannered theater projectionist, dreams of the inventions that that he can create--and when he finally has an opportunity to realize his vision, he sets himself up as the "Voice of the Conqueror," a supposed alien lifeform in orbit around the Earth, whose sole intent is to rid the world of weapons of mass destruction. But even the best-imagined notions sometimes go awry, and when several individuals--including one of Albert's daughters--are killed under mysterious circumstances, he's arrested and charged with murder. Simpkins knows that he isn't responsible for the deaths, but how can he prove the impossible? Unless...the unthinkable is actually true! A marvelous SF puzzler from the golden era of the pulp magazines!

Paterson Award for Literary Excellence. Milt Kessler Poetry Book Award, finalist. "Dawes's verse has an expressive power and lyric resonance that can be attributed to a trans-Atlantic consciousness weaned on the spiritual sources of reggae."--New York Times Book Review "Raised in Jamaica, Dawes takes some of his cues, and this book's title, from reggae music. But his voice in these long and short poems and sequences selected from each of his many books, which began appearing in the mid-1990s, is crystal clear, accessible and serious, mixing a timeless myth-making energy with a strong contemporary conscience..." --National Public Radio "This first U.S. selection from the Jamaica-bred, Nebraska-based poet (he also has a reputation in Britain) is his 16th book of verse in just 20 years; it reveals a writer syncretic, effusive, affectionate, alert to familial joys, but also sensitive to history, above all to the struggles of African diasporic history--the Middle Passage, sharecropper-era South Carolina, the Kingston of Bob Marley, whose song gives this big book its title. Dawes is at home with cityscape and seascape, patois and transatlantic tradition." --Publishers Weekly " Dawes] is highly original and intelligent, possessing poetic sensibility that is rooted and sound, unshakeable and unstopped, both in its vibrancy and direction. He writes poetry as it ought to be written."--World Literature Today "Dawes asserts himself as man and artist and finally, with grace achieved and grace said, sits down to begin life's tragic feast . . . a writer of major significance."--Brag Book "The notion of a reggae aesthetic--of the language moving to a different rhythm, under different kinds of pressure . . . underpins all Dawes' work as poet."--Stewart Brown Born in Ghana, raised in Jamaica, and educated in Canada, Kwame Dawes is a dynamic and electrifying poet. In this generous collection, new poems appear with the best work from fifteen previous volumes. Deeply nuanced in exploring the human condition, Dawes' poems are filled with complex emotion and consistently remind us what it means to be a global citizen. From "The Lessons": Fingers can be trained to make shapes that, pressed just right on the gleaming keys, will make a sound that can stay tears or cause them to flow for days. Anyone can learn to make some music, but not all have the heart to beat out the tunes that will turn us inside out. . . Kwame Dawes is the author of fifteen collections of poetry, two novels, four anthologies, and numerous essays and plays. In 2009 he won an Emmy Award for his interactive website, LiveHopeLove.com. Since 2011 he has taught at the University of Nebraska, and lives in Lincoln, Nebraska.

It is a curse to be haunted by the past. It is worse to be hunted by it... In the realm of Imphallion, there once was a nightmare—a living nightmare known only as the Terror of the East. Nigh invulnerable in his magical black armor and aided by unholy minions, he laid waste to all in his path on his all-consuming quest to bring order to the land. His order. Then, at what should have been his moment of triumph, his will failed. And his army fell. Taking a young noblewoman as hostage, he escaped, vanishing into darkest memory. Years later, Corvis Rebaine is a simple man, content with his loving wife and children. The terrible deeds and glories of his past life are dead and buried along with his former name and its monstrous legacy—until his daughter is taken by fiends under a maniacal young warlord looking to complete the Terror’s conquest. Now, spurred to action by a newborn fury and thirst for vengeance, Rebaine must do the unthinkable—don the dark armor once again, gather his once-loyal cadre of killers, and fight to save both the family he loves and the country he once almost destroyed. And all who stand in his way will have one final thought before death... The Terror has returned. “Action-packed...an intriguingly twisty plot, full of magic and political intrigue.”—Booklist “Superior storytelling and deft dialog make this a top-notch choice . . . filled with dark humor as well as scenes of brutal battle and high magic.”—Library Journal “A powerful fantasy, with well drawn heroes and delightfully wicked, yet complicated, villains. Ari Marmell has made his mark in the genre.”—Paul S. Kemp, author of the Erevis Cale trilogy “A tale that begins where most stories end and features a most unlikely protagonist. Twists of humor leaven this story of desperate people in dangerous times, as a conqueror discovers that perhaps those who live by the sword are sometimes doomed to face the business end of one. A great mix of character and action.”—Robin Hobb, author of Dragon Keeper The text of this edition is unchanged from that of the Del Rey edition.

This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.

For many Christians, the concept of spiritual warfare involves scenarios that are often enchanting, extravagant, and even parapsychological. Hard-lined skeptics respond by treating it instead as an archaic and outmoded superstition—a farce. While we might think a simple reading of Scripture will settle the matter, this has not been the case since those writing on the subject are (tacitly) influenced by dubious philosophical commitments and presuppositions left unchecked. This groundbreaking book incorporates philosophical reasoning in formulating for the everyday Christian a robust biblical doctrine of spiritual warfare. It is a serious but readable attempt to understand what spiritual warfare is by addressing both the theological and philosophical issues involved. The Conqueror’s Tread dares to take a reasoned approach to pressing questions such as: •Do supernatural beings really exist? If so, what are they and what can they do? •Are there territorial spirits? •Is exorcism a part of spiritual warfare? •Does spiritual warfare involve speaking aloud, prayerwalking, and breaking curses? •What can evil spirits do to Christians? Can Christians be demon-possessed? •Why would God allow his people to be in a state of conflict with evil spirits? •What is Christian holiness and how do we pursue it? •What role does apologetics have? and many more!