Carnival Of The Hunted

The first figure raises his crossbow, tilting his head to pinpoint the exact position of the thing in the bushes. It has stopped running now, and is muttering something. Some kind of prayer, a call for its mother, its father: anyone who might help it.Something sinister is going on in the stinking slums of London. Sideshow acts are going missing . . . men wearing animal masks and eye goggles are hunting them down and killing them for sport. But who are this fiendish Hunters' Club? And what is the reason for their cruel game?Sheba the wolfgirl and Pyewacket the witch's imp know all about life in a sideshow. But now they are the Carnival, private investigators working to help unusual people like them. Teaming up with new recruits half-cat Inji, her extraordinary brother, the armadillo-like Sil and Glyph the psychic, it's a race against time . . . to track down the mask-wearing villains, before anyone else comes to harm!

A wonderfully murky, carnivalesque world of intrigue, unexpected friendships and mysteries solved.Sheba the wolf girl joins an unusual troupe of performers that includes Pyewacket, a witch's imp; Gigantus the giant and Sister Moon, a knife thrower. For the first time in her life she feels she might make true friends, and learn a real stage craft. But soon that's not all she has to think about . . .Children are being sucked into the Thames and there have been strange sightings of a mechanical monster. The carnival troupe know first-hand that looks only tell half a story - they become determined to find these forgotten children. Perhaps they will unravel the mystery that has defied even the law!Illustrated with black and white artwork from superstar illustrator, Sam Usher, and the first in a brand new series!'Thrilling, original, full of zest and wit.' The London Times'An atmospheric and exciting read.' BookTrust'A page-turning adventure.' The Daily Mirror

There were three men and two women . . . One had half a face. One had iron legs. The others all had one or both arms missing. There were pincers and claws and guns instead. And you could hear them ticking. Ticking all the time. When Sheba the wolfgirl learns that her old friend Sister Moon is being held prisoner by the Spider and its gang of mechanical villains, the Carnival immediately launch a daring rescue mission to Paris. Along with Pyewacket the witch's imp and catlike Inji, Sheba joins forces with Moon's son Remy, a boy who can bend shadows to his will. Deep underground in the catacombs of Paris there is a map, which they must find to trade for Moon's freedom. But who is this mysterious Spider? And why is she so desperate for an old map? With the city under siege from Prussian invaders and the Spider's henchmen on their trail, the Carnival will need to use all their powers to save their friend . . .

DIVA corrupt football team fights to become the sport’s dominant franchise/divDIV/divDIVThe Texas Pistols never should have been. The league had no business awarding a team to dying Park City, but it only took a little pressure—financial and otherwise—to bring the expansion franchise to town. At first, they’re worthless, playing in an empty stadium for slack-jawed fans, but the owners have a plan. Five years to financial security. Five years to complete domination of the sport. Five years to the Super Bowl. And it starts with Taylor Rusk./divDIV /divDIVBut Rusk, the finest college quarterback of his generation, is no fool, and he realizes quickly that all is not honest in Park City. He doesn’t want to stop the corruption; he wants a piece of it, and for a price he will lead his new team to glory. In Texas, football is life. But in Park City, it can mean death, too./div

Carnival has been described as one of the foundational elements of European culture, bearing an emblematic and iconic status as the festive phenomenon par excellence. Its origins are partly obscure, but its stratified and complex history, rich symbolic diversity, and sundry social configurations make it an exceptional object of cultural analysis. The product of more than 12 years of research, this book is the first comparative historical anthropology of popular European Carnival in the English language, with a focus on its symbolic, religious, and political dimensions and transformations throughout the centuries. It builds on a variety of theories of social change and social structures, questioning existing assumptions about what folklore is and how cultural gaps and differences take shape and reproduce through ritual forms of collective action. It also challenges recent interpretations about the performative and political dimension of European festive culture, especially in its carnivalesque declension. While presenting and exploring the most important features and characteristics of European pre-modern Carnival and discussing its origins and developments, this thorough study offers fresh evidence and up-to-date analyses about its transversal and long-lasting significance in European societies.

Interest in the history of violence has increased dramatically over the last ten years and recent studies have demonstrated the productive potential for further inquiry in this field. The early modern period is particularly ripe for further investigation because of the pervasiveness of violence. Certain countries may have witnessed a drop in the number of recorded homicides during this period, yet homicide is not the only marker of a violent society. This volume presents a range of contributions that look at various aspects of violence from the fourteenth to the seventeenth centuries, from student violence and misbehaviour in fifteenth-century Oxford and Paris to the depiction of war wounds in the English civil wars. The book is divided into three sections, each clustering chapters around the topics of interpersonal and ritual violence, war, and justice and the law. Informed by the disciplines of anthropology, criminology, the history of art, literary studies, and sociology, as well as history, the contributors examine all forms of violence including manslaughter, assault, rape, riots, war and justice. Previous studies have tended to emphasise long-term trends in violent behaviour but one must always be attentive to the specificity of violence and these essays reveal what it meant in particular places and at particular times.

Legend. Outcast. Free Man. The natural enemy of every free man is his own government . . . The land of the free and the home of the brave is no longer a safe place for men like Darry Ransom. Once, he believed in the promise of a nation based on liberty and justice for all. Now, he is a heretic and a rebel--an endangered species in a world ruled by those who call themselves guardians of a free society. Ransom calls them Enemy. Now, as he roams the present-day Idaho wilderness--seeking the peace that has eluded him for centuries--the lone wolf suddenly becomes the prey. The hunt has begun for the fugitive who will never conform, cannot be tamed . . . and refuses to die. . . . and the natural enemy of every government is a free man.

IT'S OPEN SEASON -- AND THE HILLS ARE RUNNING RED. The mountain hamlet of Centerville is known for tradition and strong family ties. Tonight it's known for something unspeakable. A hunter has been found dead in the thick of the Catskills woods, laid out like game -- a bullet hole each in his chest and head, glassy eyes staring in abject terror -- and stripped to his skin. Picking up the scent of a sensational story, reporter Diana Brooks comes to town and finds a confidant in local hunter Aaron Kuhn. Then two more woodsmen are found murdered in the same cold-blooded way -- naked prey staked out by a merciless executioner. Now Diana and Aaron have joined a posse of hunters bound by vengeance and justice. But when paranoia rules and friend turns against friend, survival depends on sheer animal instinct. Racing to reveal the truth, Diana is about to discover the cruel laws of the mountain woods -- and the blind fear of being caught in a killer's sights.