Once Upon A Time At The End Of The World Vol 1

While Abel travels the arid West in the company of Lilith and bows to her desires, the men of the terrible Colonel capture them. The latter wants to appease his anger and punish them before heading back to Holy Island and its golden menhirs... Meanwhile, Cain, on a desperate quest to heal a young girl from a strange evil, realizes that the only hope to save her is also back on the island! Filmmaker and writer Alejandro Jodorowsky concludes his mystical saga, inspired by his beloved cult classic film El Topo (1970), with illustrator José Ladrönn (Future State: The Next Batman), immersing us in a surreal and deeply spiritual western, where fate will bring the two sons of El Topo together for a final journey, one driven by hate, the other by love...

In the post-apocalypse, paradise can’t last for long in... THE RISE AND FALL OF GOLGONOOZA! A secluded suburban community is the last thing Maceo and Mezzy expected to find, especially one so well-preserved and well-stocked. As more people come to reside in this settlement called Golgonooza, it flourishes, and becomes a home for Mezzy and Maceo, just as they become home to each other. However, the cracks in Maceo and Mezzy’s oasis turn to chasms as their relationship stability (and that of the community) faces its first disasters! What Maceo felt for Mezzy eventually turns to terror as he doubts if he ever knew her in the first place, and even begins to fear her. The chasm between them grows–quite literally–as Golgonooza’s foundation crumbles and bubbles with a strange poison gas... New York Times bestselling, Eisner and Harvey Award-winning writer Jason Aaron (Thor, Star Wars: Darth Vader) is joined by acclaimed artist Leila del Duca (Wonder Girl: Homecoming) in the second chapter of his ambitious post-apocalyptic original series! Collects Once Upon a Time at the End of the World #6-10.

In this epic post-apocalyptic tale, Maceo and Mezzy have never met anyone like each other, and they’ll need all the help they can get to survive a planet ravaged by environmental catastrophe. This epic trilogy–each issue overflowing with 30 story pages–spans a lifetime as philosophical differences tear at the threads holding Maceo and Mezzy together. Will they, and the earth beneath their feet, ultimately be torn apart?

In the village of Giant's Hand Jack's grandfather has been pushing him to find a princess and get married, so when a young lady falls out of the sky wearing a shirt that says "Punk Princess," and she tells Jack that her grandmother, who looks suspiciously like the long-missing Snow White, has been kidnapped, Jack decides to help her.

In his 1978 book Nelson Goodman coined the term “worldmaking.” The new-materialistic approach to the potential for meaning of extra-human materiality and its multidimensional entanglements and the intraconnectedness shifts the concept of world-making into new perspectives of interpretation. In the categories of Karen Barad’s “agential realism,” it applies to practices of knowledge production and to a diffractive (re)configuration of the world’s matter and its meaning. “World-making” gains a further specific expression in Donna Haraway’s concept of “worlding” which shows the intraactive entanglement of matter, substance, meaning, storytelling and thinking on the fundamental level of the polysemic linguistic tissue itself.

Jason Aaron and Alexandre Tefenkgi’s fable of a bleak future continues in Maceo and Mezzy’s childhood years, with nothing but Mezzy’s guidebook and her skills as a wastelander to get them through their dangerous, post-apocalyptic journey. As time passes and they endure the horrors of plastic tornadoes and frozen sludge, Maceo proves to be more than just a burden, and they make a connection where none seemed possible at first. But to their unexpected peril, they might not be as alone as they thought...

Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people's arguments, but of the whole business of criticism in general, with what he calls its 'over-concentration on a narrow range of examples . . . such over-concentration warps our thinking'. Implicit and explicit throughout his work is the argument that 'an appropriately wide range of instances is essential to making progress in conceptualisation'; that what we need, in order to do better thinking, is 'a keener attention to a greater variety of examples'. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.

The Day -The day was like any other day-until it became "The Day." The United States is attacked with an Electro-Magnetic Pulse weapon. Nearly every system that depends on computers and electronics cease to work. The electrical grid and communications go down. Cars don't work. Follow Jill, Jack and John as they struggle to make it home.