Bloodhype

Could even the remarkable Flinx stop the deadly drug that was sweeping the galaxy? It caused instant addiction, followed by an excruciating slow death, and there was no known antidote. It was a killer. Supposedly the drug had been totally eradicated from the humanx galaxy years before. At least that's what everyone thought. But somehow, mysteriously, that dreadful substance was back in circulation on Repler and threatening to wreak havoc throughout the known galaxy. Someone somewhere was secretly manufacturing Bloodhype, but nobody seemed to know where or who!

This book targets people who suffered from Bipolar conditions.

Pip and Flinx: Book One. So-named because of its beautiful "wings" - great golden clouds forever suspended in space. And like its namesake, the planet attracted unwary tourists, travellers, space-sailors, merchants - a teeming, constantly shifting horde that provided a comfortable income for certain quick-witted fellows like Flinx and his pet flying-snake, Pip. The pickings were easy enough so that you with care you didn't even have to be dishonest. In fact, you could hardly call it dishonest - stealing a starmap from a dead body that didn't need it any more. But Flinx wasn't quite smart enough. He should have wondered why the body was dead . . .

From science fiction legend Alan Dean Foster comes a thrilling Pip and Flinx adventure, wherein a certain red-haired, green-eyed young man blessed (or cursed) with strange powers finds himself and his mini-dragon sidekick on a top-secret mission concerning deep space, alien worlds . . . and a primordial horror intent on devouring all of it. In the outer depths of the universe lies the Great Emptiness, where something dreadful lurks, hidden behind a great gravitational lens of dark matter. Something horrific that howls and writhes and rages across three hundred million light-years of space–and is now heading straight for the Commonwealth and moving faster all the time. One slim chance exists to avert catastrophe, and only Flinx can take it. Roaming the galaxy is a conscious planet-size weapons system, the legacy of a long-extinct race. As Flinx is the only one who has ever experienced mental contact with the machine, it is his job to find the powerful alien artifact and coax it into joining the battle against the behemoth from beyond. So Pip and Flinx valiantly sail into the unknown aboard their little spaceship, which is immediately forced down for emergency repairs on planet Arrawd, home to less advanced sentients and therefore off-limits to space travelers. But what with Arrawd being very beautiful, and Flinx being Flinx, this particular rule doesn’t stand a chance. Now, Flinx is no stranger to murderous attacks and stalking assassins—evading them occupies most of his waking hours–but to be besieged by hordes bent on worshipping him as a god? Worse still, escaping this fate is going to be as impossible as fulfilling his dire mission. What’s a deity to do?

The #1 New York Times–bestselling prolific author recounts his storied career as one of the top novelizers of films and television in Hollywood. Author Alan Dean Foster is a Grand Master of Media Tie-In Fiction. He has written both original tie-ins and script novelizations since the 1970s, bringing his straightforwardness—a favorite to readers but a nuisance to directors—to his many projects. For Foster, Hollywood is a unique world that has allowed him to chat with Catwoman, ask out Diana Rigg, attend a movie screening with Alice Cooper, and have burgers and milkshakes with John Carpenter. To think, he was almost a lawyer . . . In The Director Should’ve Shot You, Foster shares all the colorful stories behind his adaptations of films, TV shows, and video games. He had the honor of working on big-name properties like Star Trek, Terminator, and The Thing. He served as ghost writer for the novelization of the original Star Wars and got to write the sequel—sort of. There are, of course, his lesser-known works, like an adaptation of the special two-part abortion episode of Maude . . . that never made it to print. And in between his work for Hollywood, he managed to become a hugely successful science fiction and fantasy author with series like the Adventures of Pip & Flinx and the Icerigger Trilogy With humor and wit, Foster retraces his path to “Grand Master,” with all the successes, disappointments, and lumps he’s taken along the way. In the process, he shines a spotlight on the unusual world of studio marketing in Hollywood. The result is a memoir that will have you looking at some of your favorite films in a whole new light. Praise for The Director Should’ve Shot You “Foster puts all this down in easygoing prose that . . . is quite readable. . . . I can’t see how this book could not be a must-read, and indeed, it is must reading, pure and simple.” —The Bedlam Files

Volume III in the heroic saga of magic, betrayal and adventure, The Darksword Trilogy. In the realm where magic is life, Joram was one of the Dead. Born without power, he was denies his royal birthright and sentenced to the Turning—his mind to be imprisoned inside a husk of living stone. Yet at the last moment, Saryon took his place, suffering the eternal torment for his young master, And joram and his wife Gwendolyn vanished into the mists that marked the Border of the World. . . . Now, ten years later, Joram and Gwendolyn have returned to reclaim their rightful place in Merilon. Wielding one last time the terrible, magic-thirsting Darksword, Joram must confront the evil sorcerer Menju and his army of Technologists from beyond the Border in a final apocalyptic battle. Rejoined by Saryon, the mage Mosiah and Simkin, Joram will fulfill the ancient prophecy of the Darksword—the prophecy that puts in his hands the power to destroy the world . . . or save it.

This new collection of essays, commissioned from a range of scholars across the world, takes as its theme the reception of Rome's greatest poet in a time of profound cultural change. Amid the rise of Christianity, the changing status of the city of Rome, and the emergence of new governing classes, Vergil remained a bedrock of Roman education and identity. This volume considers the different ways in which Vergil was read, understood and appropriated; by poets, commentators, Church fathers, orators and historians. The introduction outlines the cultural and historical contexts. Twelve chapters dedicated to individual writers or genres, and the contributors make use of a wide range of approaches from contemporary reception theory. An epilogue concludes the volume.