The Cyclops Revenge

In the two years since the near-devastating events at the shipyard in Newport News, Virginia, pharmacist Jason Rodgers has tried to exorcise his demons and cultivate a peaceful existence with his son Michael and his true love Christine Pettigrew. But the past is not easily washed away. Revisiting him in a vengeful and devastating way, Rodgers latent ghosts rise up once more. In The Cyclops Revenge, Delilah Hussein, reborn and reloaded, the vindictive and resourceful matriarch of an ultra-secret organization resurfaces wielding retribution aimed at Rodgers and prepared for another blow to America. Rodgers and his family become locked in a mortal struggle with one of the world's most ruthless villains. It is a struggle that will catapult Rodgers from the quiet streets of a working-class city in Virginia to the power laden halls of Washington and the islands of the Caribbean. Rodgers is faced with the prospect of losing that which he holds most dear. He will be tested in ways never imagined. And the course of his life will be forever altered. Filled with breathtaking turns of plot, sophisticated prose and populated with a remarkable cast of characters, The cyclops revenge is the most explosive thriller of the year; a searing tale of vengeance, sacrifice, courage and love. This sequel to the national bestseller The Cyclops Conspiracy is David Perry's best novel yet.

In this engaging thriller, David Perry demonstrates his skill as a master storyteller taking us behind the counter into the world of pharmacy. The Cyclops Conspiracy accelerates through tense terrain toward an incredible finish. As the story opens, pharmacist Jason Rodgers stands nose to nose with his tortured past following the untimely death of his mentor, Thomas Pettigrew. He is reunited with his former lover and Pettigrew's daughter Christine. Troubled by the way Pettigrew died and Christine's unsettling statements about her father, Rodgers pushes to know more. Their reunion initiates a cascade of apparently unrelated but fateful turn of events for Rodgers-an incredible job offer working for a mysterious millionaire, the lustful pursuits of a sexy physician, and the criminal activities of a corrupt pharmacist. With the clock ticking down to a nail-biting climax, he races to stop a plot and expose the conspirators before he becomes their next victim-and before American history is irrevocably altered.

Modern readings of ancient Athenian drama tend to view it as a presentation of social or moral problems, as if ancient drama showed the same realism seen on the present-day stage. Such views are belied by the plays themselves, in which supremely violent actions occur in a legendary time and place distinct both from reality and from the ethics of ordinary life. Offering fresh readings of Attic tragedy, Anne Pippin Burnett urges readers to peel away twentieth-century attitudes toward vengeance and reconsider the revenge tragedies of ancient Athens in their own context. After a consideration of how our view of Elizabethan drama has obscured an accurate view of the ancient tragedies, Burnett reviews early Greek notions of vengeance as expressed in the Odyssey, Heracles' tales, Pindar's odes, Attic judicial processes, and the legend of Harmodius and Aristogeiton. Then, setting aside post-Platonic and Judeo-Christian notions of criminality, she provides new interpretations of all the Attic tragedies in which revenge is a central theme: Aeschylus' Libation Bearers, Sophocles' Ajax, Electra, and Tereus, and Euripides' Children of Heracles, Hecuba, Medea, Electra, and Orestes. Burnett shows that for the ancients, revenge meant a redress of imbalances in both human and divine worlds, achieved through human actions. The vengeful heroines thus appear in a new light. Electra, Hecuba, Medea, and others cease to be the picture of depravity in dramas that are grotesque and sensational, and are instead representative human figures who respond with grandeur to the outsize demands of necessity and supernatural powers.

This book is the first in-depth examination of revenge in the Odyssey. The principal revenge plot of the Odyssey --Odysseus' surprise return to Ithaca after twenty away and his vengeance on Penelope's suitors -- is the act for which he is most celebrated. This story forms the backbone of the Odyssey. But is Odysseus' triumph over the suitors as univocally celebratory as is often assumed? Does the poem contain and even suggest other, darker interpretations of Odysseus' greatest achievement? This book offers a careful analysis of several other revenge plots in the Odyssey -- those of Orestes, Poseidon, Zeus, and the suitors' relatives. It shows how these revenge stories color one another with allusions (explicit and implicit) that connect them and invite audiences to interpret them in light of one another. These stories -- especially Odysseus' revenge upon the suitors -- inevitably turn out to have multiple meanings. One plot of revenge slips into another as the offender in one story becomes a victim to be avenged in the next. As a result, Odysseus turns out to be a much more ambivalent hero than has been commonly accepted. And in the Odyssey's portrayal, revenge is an unstable foundation for a community. Revenge also ends up being a tenuous narrative structure for an epic poem, as a natural end to cycles of vengeance proves elusive. This book offers a radical new reading of the seemingly happy ending of the poem.

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Revenge was an all important part of the ancient Athenian mentality, intruding on all forms of life - even where we might not expect to find it today. Revenge was of prime importance as a means of survival for the people of early Greece and remained in force during the rise of the 'poleis'. The revenge of epic heroes such as Odysseus and Menalaus influences later thinking about revenge and suggests that avengers prosper. Nevertheless, this does not mean that all forms of revenge were seen as equally acceptable in Athens. Differences in response are expected depending on the crime and the criminal. Through a close examination of the texts, Fiona McHardy here reveals a more complex picture of how the Athenian people viewed revenge.

An investigation of how Renaissance English revenge drama carried out important ethical work through audience participation and metatheatre.

This book seeks to prove the human brain's wrong-sidedness and corrective decussations stem from humanity's first forebears, ancestral fish. It argues that the first fish possessed a single frontal eye that inverted inputs to the primitive vertebrate brain thereby inverting the brain itself.