38 Dark Days

Set on the country’s few month’s old “revolutionary government “, and amidst the euphoria over the victory of the 1986 People Power Revolution, 38 Dark Days is a microcosmic picture of repudiating the much touted ideals that the latter fought for by the action of the former. This novel is a day to day account of the struggles of an academic community that filed a peaceful protest against the surreptitious appointment of somebody to replace the current president. It mirrors the pain, frustrations, and growing hopelessness amid a reticent determination to fight and bring their pleas to the powers that be, locally and nationally. The pervading plea was simply to insulate the academe from political interference so that excellence rather than mediocrity become the norm to inspire them, uphold integrity rather than opportunism, and strengthen institutional structures to withstand political meddling, among others. The roles played in the protest by the local and national politicians, educational leaders, local media (print and broadcast), the military (local and regional), the court of justice , and the local community contribute significantly to paint a gripping view of the crisis that develops. These and their ramifications rock the state college in Metro Ciudad showing a vivid interplay of societal forces and its consequences. The 38th day is not the end all, though. In effect, the events like the search for a new college president to follow days after, turn out to be lengthened shadows of the agony and the painful compromise that had marked the past days. Has the ethos of opportunism, incompetence, and indifference prevailed? Light moments were skillfully interwoven in the story. These serve as catharsis and energizer to keep aflame the hope despite the adversities, while injecting lessons on crisis management on the personal, social, or institutional level. xxx

Skulduggery is gone. All our hopes rest with Valkyrie. The world's weight is on her shoulders, and its fate is in her hands.

Molly’s up against the undead—and the fate of Manhattan is in her hands—in the third and final book of the Dead City trilogy, which Hunger Games author Suzanne Collins says “breathes new life into the zombie genre.” Molly and the Omegas fight to contain the storm unleashed by Operation Blue Moon. As they do, Molly’s personal life is thrown into turmoil when she discovers that one of her closest friends has joined the ranks of the undead, a development that threatens the Omegas as well as Molly’s relationship with her mother. As Molly and her friends battle the Dead Squad (a special NYPD task force made up entirely of zombies), they discover that the world’s largest gold reserve is kept in a vault eighty feet below the Federal Reserve Bank of New York. They find a photograph of the vault’s construction in the 1920s and realize that the construction crew was led by none other than the leader of the undead, Marek Blackwell. Could this explain the source of all his money? And if so, what is he planning to do with it? Is he rebuilding Dead City…or is he building an undead army?

Lamb of god vocalist D. Randall Blythe finally tells the whole incredible story of his arrest, incarceration, trial, and acquittal for manslaughter in the Czech Republic over the tragic and accidental death of a concertgoer in this riveting, gripping, biting, bold, and brave memoir. On June 27, 2012, the long-running, hard-touring, and world-renowned metal band lamb of god landed in Prague for their first concert there in two years. Vocalist D. Randall "Randy" Blythe was looking forward to a few hours off--a rare break from the touring grind--in which to explore the elegant, old city. However, a surreal scenario worthy of Kafka began to play out at the airport as Blythe was detained, arrested for manslaughter, and taken to PankráPrison--a notorious 123-year-old institution where the Nazis' torture units had set up camp during the German occupation of then-Czechoslovakia, and where today hundreds of prisoners are housed, awaiting trial and serving sentences in claustrophobic, sweltering, nightmare-inducing conditions. Two years prior, a 19-year-old fan died of injuries suffered at a lamb of god show in Prague, allegedly after being pushed off stage by Blythe, who had no vivid recollection of the incident. Stage-crashing and -diving being not uncommon occurrences, as any veteran of hard rock, metal, and punk shows knows, the concert that could have left him imprisoned for years was but a vague blur in Blythe's memory, just one of the hundreds of shows his band had performed over their decades-long career. At the time of his arrest Blythe had been sober for nearly two years, having finally gained the upper hand over the alcoholism that nearly killed him. But here he faced a new kind of challenge: jailed in a foreign land and facing a prison sentence of up to ten years. Worst of all, a young man was dead, and Blythe was devastated for him and his family, even as the reality of his own situation began to close in behind PankráPrison's glowering walls of crumbling concrete and razor wire. What transpired during Blythe's incarceration, trial, and eventual acquittal is a rock 'n' roll road story unlike any other, one that runs the gamut from tragedy to despair to hope and finally to redemption. While never losing sight of the sad gravity of his situation, Blythe relates the tale of his ordeal with one eye fixed firmly on the absurd (and at times bizarrely hilarious) circumstances he encountered along the way. Blythe is a natural storyteller and his voice drips with cutting humor, endearing empathy, and soulful insight. Much more than a tour diary or a prison memoir, Dark Days is D. Randall Blythe's own story about what went down--before, during, and after--told only as he can.

Originally published in 1984. The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising—and uncondescending—commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright.