The biggest name in fiction, George R.R. Martin, opens his story vault as we adapt a tale of dark fantasy to comics for the first time with In The House of the Worm. Beneath a ruined city on a forgotten planet lies a world of plots and revenge. When Annelyn is embarrassed in front of his noble friends by the Meatbringer, he sets forth a devious plan that is meant to gain vengeance. But the terrible truth of the dire White Worm turns his ploy into folly in terrible fashion. Now the truth of the Grouns and the Worms will be revealed and Annelyn must face the horrors of what lay beneath his pampered world in the darkness below. Join a master storyteller as he spins a uniquely mysterious tale and reveals new worlds of wonder and horror. This volume collects issues #1-4 of the In the House of the Worm series.

The Handbook of English Pronunciation presents a comprehensive exploration of the characteristics of English pronunciation, including language acquisition, English in the world, its relationship to modern technology, the shifting role of accent, and more. Featuring contributions from a global team of authors, the Handbook explores such areas as the pronunciation function at the sound, word, sentence, and discourse levels and the important and often inadequately described suprasegmental aspects of phonology. It offers insights into a wide range of relevant topics, including the historical development of English, global diversity of English pronunciation, optimum ways of describing features of English pronunciation, patterns of first and second language acquisition, and social attitudes relating to variations in accents. Through a careful balance of essential topics in both research and pedagogy, The Handbook of English Pronunciation is an invaluable resource, addressing this important aspect of contemporary linguistic research and language teaching.

Let the dark times begin! Marvel welcomes Star Wars to the Epic Collection program, with this first volume of a series focusing on the years that follow "Episode III: Revenge of the Sith"! After the end of the Clone Wars, the Republic has fallen and Palatine exerts his ruthless grip on his new Galactic Empire. Now, the few Jedi that remain must decide whether to hold true to their faith, or abandon it completely in the face of a brutal purge--one carried out by the new Dark Lord of the Sith. Rise, Darth Vader!

COLLECTING: STAR WARS: REPUBLIC 78-80; STAR WARS: PURGE, PURGE - SECONDS TO DIE, PURGE - THE HIDDEN BLADE ONE-SHOTS; STAR WARS: PURGE - THE TYRANT'S FIST 1-2; STAR WARS: DARTH VADER AND THE LOST COMMAND 1-5; STAR WARS: DARK TIMES 1-5

In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the 'artful and crafty ones of the French Quarter.' In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age.

Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, 'Sherwood Anderson and Other Famous Creoles.' The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists.

The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an 'artist' on the 1920 federal census gave her occupation in 1930 as 'saleslady, real estate,' reflecting the decline of an active artistic class.

A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.

In this lavishly illustrated biography of silversmith and graphic artist William Spratling (1900-1967), Taylor D. Littleton reintroduces one of the most fascinating American expatriates of the early twentieth century. Best known for his revolutionary silver designs, Spratling influenced an entire generation of Mexican and American silversmiths and transformed the tiny village of Taxco into the 'Florence of Mexico.' Littleton widens the context of Spratling's popular reputation by examining the formative periods in his life and art that preceded his brilliant entrepreneurial experiment in the Las Delicias workshop in Taxco, which left a permanent mark on Mexico's artistic orientation and economic life.Spratling made a fortune manufacturing and designing silver, but his true life's work was to conserve, redeem, and interpret the ancient culture of his adopted country. He explained for North American audiences the paintings of Mexico's modern masters and earned distinction as a learned and early collector of pre-Columbian art. Spratling and his workshop gradually became a visible and culturally attractive link between a steady stream of notable American visitors and the country they wanted to see and experience.Spratling had the rare good fortune to witness his own reputation-as one of the most admired Americans in Mexico-assume legendary status before his death. William Spratling, His Life and Art vividly reconstructs this richly diverse life whose unique aesthetic legacy is but a part of its larger cultural achievement of profoundly influencing Americans' attitudes toward a civilization different from their own.

Revenge is a dish best served with blazing side-scroller-style action in Burn the Orphanage: Born to Lose by Sina Grace (The Li'l Depressed Boy, Not My Bag) and Daniel Freedman (Undying Love). Rock was a young orphan when he was left for dead in a burning building, and now he's out to find the person responsible. With action inspired by 1980s video games like Double Dragon and Streets of Rage, Rock will take on every goon and punk in the city, along with his friends Lex and Bear, who bring their own talents into the mix. A love letter to the games of yesteryear, Born to Lose chronicles orphan Rock's journey as he fights his way through the mean streets for revenge. This collected edition includes pages of never-before-seen art and loads of extras!

Universalmente noto come autore dei 'Dieci giorni che sconvolsero il mondo', John Reed, di 'giorni che sconvolsero il mondo', ne visse in realtà ben più di dieci. Viaggiatore instancabile, Reed ebbe il merito e la forza, nel corso della sua esistenza, di essere ovunque ci fosse una voce che gridasse alla giustizia sociale o scoppiasse una lotta desiderosa di cambiare l'esistente. Non solo l'Unione Sovietica, dunque, ma anche il Messico dell'insurrezione di Pancho Villa, o gli stessi Stati Uniti, mentre i minatori in sciopero venivano picchiati a sangue e gli agitatori sindacali processati da giudici al soldo dei padroni del vapore. Restati a lungo inediti, i racconti che compongono 'Avventura e Rivoluzione' descrivono il mondo con la voce di John Reed, un partigiano della parola che nessuna censura potrà mai oscurare.

Governo o governance? Popolo o società civile? Progresso o sviluppo sostenibile? Il significato di queste parole, in un aperitivo con Françoise Héritier e François Hollande. L'audacia, la speranza e il realismo di una rivoluzione in 'dieci giorni': la storia dei quali è affidata a John Reed. Per Maurice Merleau-Ponty 'non si può essere comunisti'. Tre testi, uno zibaldone, per trovare i fondamenti della modernità, riannodare i fili di un mondo che cambia, e stabilire fra gli uomini delle relazioni umane.

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In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." InDixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age.

Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as theDouble Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists.

The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class.

A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.

This book is designed for teachers of legal writing and research courses. Both new and seasoned legal writing teachers will benefit from the book, whether they are full-time professors, adjuncts, fellows, program directors, or teaching assistants. A Guide to Teaching Lawyering Skills explores the essential components of the teaching process, including setting course goals; creating a curriculum, syllabus, and assignments; developing teaching methods; providing feedback to students both orally and in writing; evaluating and grading student work; working with teaching assistants; and enhancing professional development. The focus of the book is practical, and its suggestions are specific and concrete. Chapters include a bibliography of additional resources for teachers.