Mort Playtext

Death comes to us all. When he came to Mort, he offered him a job. But when Mort is left in charge for an evening, he allows his heart to rule his head and soon the whole of causality and the future of the Discworld itself, are at risk. Along the way, Mort encounters not only Death's adopted daughter, Ysabell - who has been 16 for 35 years - and his mysterious manservant Albert - whose cooking can harden an artery at ten paces - but also an incompetent wizard with a talking doorknocker and a beautiful, but rather bad-tempered and dead, princess. He also, of course, meets Death. On Terry Pratchett's Discworld, Death really is a 7 foot skeleton in a black hooded robe and wielding a scythe. He is also fond of cats, enjoys a good curry, and rides around the skies on a magnificent white horse called Binky.

“Not hubris but the ever self-renewing impulse to play calls new worlds into being.”—Nietzsche Parents and politicians have always taken play seriously. Its formative powers, its focus, its energy, and its ability to signify other things have drawn the attention of writers from Plato and Schiller to Wittgenstein, Nabokov, and Eco. The ease with which an election becomes perceived as a race, a political crisis as a football game, or an argument as a tennis match readily proves how much play means to contemporary life. Just how play confers meaning, however, is best revealed in literature, where meaning is perpetually at stake. “At stake” itself, the risk of a gamble, is only one intersection between play and life. Playtexts reveals numerous junctures where literary playfulness—seemingly so diverting and irrelevant—instead opens the most profound questions about creativity, community, value, and belief. How do authors play with their words and readers? Can literature proceed at all unless a reader is willing and able to play? No moralizing monologue, Playtexts is all for exuberance and creative surge: Breton’s construction of an antinovel, Gombrowicz’s struggle with adult formalities, Nabokov’s swats at the humorless, Sarrazin’s seductive notes, Eco’s recasting of spy and detective fiction, Reyes’s carnal metaphorics.

'YOU CANNOT INTERFERE WITH FATE. WHO ARE YOU TO JUDGE WHO SHOULD LIVE AND WHO SHOULD DIE?' Death comes to us all. When he came to Mort, he offered him a job. Death is the Grim Reaper of the Discworld, a black-robed skeleton with a scythe who ushers souls into the next world. He is also fond of cats and endlessly baffled by humanity. Soon Death is yearning to experience what humanity really has to offer, but to do that, he'll need to hire some help. It's an offer Mort can't refuse. As Death's apprentice he'll have free board, use of the company horse - and being dead isn't compulsory. It's a dream job - until Mort falls in love with Death's daughter, Ysabell, and discovers that your boss can be a killer on your love life . . . 'Incredibly funny, compulsively readable' The Times 'Cracking dialogue, compelling illogic and unchained whimsy' Sunday Times Mort is the first book in the Death series, but you can read the Discworld novels in any order.

Studien zur Sprache, Geschichte und Kultur der Turkvölker was founded in 1980 by the Hungarian Turkologist György Hazai. The series deals with all aspects of Turkic language, culture and history, and has a broad temporal and regional scope. It welcomes manuscripts on Central, Northern, Western and Eastern Asia as well as parts of Europe, and allows for a wide time span from the first mention in the 6th century to modernity and present.

Scarcely a year on from the events of Guards! Guards!, the Ankh-Morpork City Night Watch find their services are once more needed to tackle a threat to their city. A threat at least as deadly as a 60-foot dragon, but mechanical and heartless to boot. It kills without compunction. It is the first gun on the Discworld. The original Watch - Captain Vimes, Sergeant Colon, Corporal Carrot and Corporal Nobbs - are joined by some new recruits, selected to reflect the city's ethnic make-up - Lance-Constable Cuddy (a dwarf), Detritus (a troll) and Angua (a w..., well, best to find out for yourself).

New York Times bestselling author Terry Pratchett makes Death a central character in Mort, his fourth sojourn to Discworld, the fantasy cosmos where even the angel of darkness needs some assistance. Death comes to everyone eventually on Discworld. And now he's come to Mort with an offer the young man can't refuse. (No, literally, can't refuse since being dead isn't exactly compulsory.) Actually, it's a pretty good deal. As Death's apprentice, Mort will have free board and lodging. He'll get use of the company horse. And he won't have to take any time off for family funerals. But despite the obvious perks, young Mort is about to discover that there is a serious downside to working for the Reaper Man . . . because this perfect job can be a killer on one's love life. Terry Pratchett's profoundly irreverent, bestselling novels have garnered him a revered position in the halls of parody next to the likes of Mark Twain, Kurt Vonnegut, Douglas Adams, and Carl Hiaasen.

Donald Trump won election as the 45th President of the United States by studying American political stagecraft and learning what helped previous candidates succeed and doomed others to failure. A figure on the periphery of campaigns for decades, he glided down the Trump Tower escalator on June 16, 2015, declared his candidacy and took his place, permanently, as an actor in the country’s greatest spectacle. Twenty-eight years earlier, at the dawn of what Josh King calls “The Age of Optics” in OFF SCRIPT: An Advance Man’s Guide to White House Stagecraft, Campaign Spectacle and Political Suicide, Trump began to position himself for his eventual run for the Oval Office. Pictured at the foot of that same gilded escalator, he posed at the foot of that same escalator for a cover story profile in TIME magazine. “This Man May Turn You Green With Envy—Or Just Turn You Off,” read the first part of TIME’s headline in January 1989. “Flaunting It is the Game, and TRUMP is the name,” the headline concluded. The cover story came just after Massachusetts Governor Mike Dukakis lost in a landslide to Vice President George H.W. Bush, in part because Dukakis made the disastrous decision to ride in an M1A1 Abrams tank in Sterling Heights, Michigan less than two months before the election. Why did Dukakis make that ride, and why was it so deadly? Indeed, in each election that followed, why did George Bush, Bob Dole, Al Gore, John Kerry, John McCain and Mitt Romney make similar mistakes that cost them dearly at the polls? These are the questions that Josh King answers in OFF SCRIPT. King, who served as Director of Production in Bill Clinton’s White House and later was host of SiriusXM Satellite Radio’s long-running “Polioptics: The Theater of Politics,” brings readers on a wild ride over the last thirty years of the Age of Optics, from Ronald Reagan’s mastery of image to Barack Obama’s “Vanilla Presidency” to, ultimately, the faceoff between Hillary Clinton and Trump. As one of the White House’s most creative “advance men,” skilled at employing the tools to tell help tell the president’s daily story, and creating the scenes that the media can’t resist turning into news packages and front page photos, King pulls back the curtain on the behind-the-scenes alchemy of political stagecraft. King’s personal account, in-depth interviews, and detail-rich stories, and his unique angle on what drives headlines, makes news, and wins elections will serve as an indispensible companion to those keeping a close eye on the Trump presidency.

Pep Comics is the name of an American comic book anthology series published by the Archie Comics predecessor MLJ Magazines Inc. (commonly known as MLJ Comics) during the 1930s and 1940s period known as the Golden Age of Comic Books. The title continued under the Archie Comics imprint for a total of 411 issues until March 1987. Pep Comics was the comics title that introduced the superhero character The Shield, the first of the super-patriotic heroes with a costume based on a national flag (pre-dating Captain America by over a year), The Comet, who was the first superhero to die, and Archie Andrews, who eventually became the main focus of the company's extensive range of publications. This Volume contains 15 Issues of this great collection.