The Devouring Wolf

"A perfect read for every kid and every kid at heart who's ever felt like they weren't enough. This story of family in all its many forms is as deliciously fun to read as it is deeply relevant." —Julie Murphy, #1 New York Times bestselling author of Dear Sweet Pea A queer tale about kid werewolves, big bad mistakes, and terrifying creatures, perfect for fans of Katherine Arden and R.L. Stine. Little wolf, little wolf, here I come. It's the eve of the first full moon of summer and twelve-year-old Riley Callahan is ready to turn into a wolf. Nothing can ruin her mood: not her little brother Milo’s teasing, not Mama N’s smoth-ering, and not even Mama C’s absence from their pack’s ceremony. But then the unthink-able happens—something that violates every rule of wolf magic—Riley and four other kids don’t shift. Riley is left with questions that even the pack leaders don’t have answers to. And to make matters far worse, it appears something was awoken in the woods that same night. The Devouring Wolf. The elders tell the tale of the Devouring Wolf to scare young pups into obedience. It’s a terrifying campfire story for fledging wolves, an old legend of a giant creature who consumes the magic inside young werewolves. But to Riley, the Devouring Wolf is more than lore: it’s real and it’s after her and her friends.

This eBook has a dynamic table of contents. It is perfectly layout for reading on e-Reader.It was a disastrous day, when the do�a Encarnacion, Countess of Villaferda, her son Don Rainaldo and her youngest wife do�a Enriqueta came to settle in the house of the Belles Colonnes !The cousins ​​of these noble Spaniards, the Fauveclare, live in the adjoining house: Melchior, who is a widower, his two children Aubert and Isabelle, and the sweet Anne, his sister.A serious discord has always separated the two families. They intensify when the damned soul of do�a Encarnacion, the intriguing Claudia of Winfeld, who has been nicknamed "the devouring she-wolf", sets her sights on the weak Melchior ...Drama will break out in this poisonous atmosphere ...What will be the fate of the fragile Enriqueta, who trembles and revolts under the rule of a dry-hearted mother-in-law? Can she hope for help from Rainaldo, her husband who abandons her ?

In view of the current rhetoric surrounding the global migrant crisis – with politicians comparing refugees with animals and media reports warning of migrants swarming like insects or trespassing like wolves – this timely study explores the cultural origins of the language and imagery of dehumanization. Situated at the junction of literature, politics, and ecocriticism, Wolves at the Door traces the history of the wolf metaphor in discussions of race, gender, colonialism, fascism, and ecology. How have 'Gypsies', Jews, Native Americans but also 'wayward' women been 'wolfed' in literature and politics? How has the wolf myth been exploited by Hitler, Mussolini and Turkish ultra-nationalism? How do right-wing politicians today exploit the reappearance of wolves in Central Europe in the context of the migration discourse? And while their reintroduction in places like Yellowstone has fuelled heated debates, what is the wolf's role in ecological rewilding and for the restoration of biodiversity? In today's fraught political climate, Wolves at the Door alerts readers to the links between stereotypical images, their cultural history, and their political consequences. It raises awareness about xenophobia and the dangers of nationalist idolatry, but also highlights how literature and the visual arts employ the wolf myth for alternative messages of tolerance and cultural diversity.

For the Love of Psychoanalysis is a book about what exceeds or resists calculation—in life and in death. Rottenberg examines what emerges from the difference between psychoanalysis and philosophy. Part I, “Freuderrida,” announces a non-traditional Freud: a Freud associated not with sexuality, repression, unconsciousness, and symbolization, but with accidents and chance. Looking at accidents both in and of Freud’s writing, Rottenberg elaborates the unexpected insights that both produce and disrupt our received ideas of psychoanalytic theory. Whether this disruption is figured as a foreign body, as traumatic temporality, as spatial unlocatability, or as the death drive, it points to something that is neither simply inside nor simply outside the psyche, neither psychically nor materially determined. Whereas the close reading of Freud leaves us open to the accidents of psychoanalytic writing, Part II, “Freuderrida,” addresses itself to what transports us back and limits the openness of our horizon. Here the example par excellence is the death penalty and the cruelty of its calculating decision. If “Freuderrida” insists on the death penalty, if it returns to it compulsively, it is not only because its calculating drive is inseparable from the history of reason as philosophical reason; it is also because the death penalty provides us with one of the most spectacular and spectacularly obscene expressions of Freud’s death drive. Written with rigor, elegance, and wit, this book will be essential reading for anyone interested in Freud, Derrida, and the many critical debates to which their thought gives rise.

Caught between two Viking warrior brothers, am I anything but a pawn in their game of vengeance? As the ancient blood-rituals of Ostara night begin, dark forces are stirring. Nowhere is safe. And there's nowhere left for me to run. Surrender to suspense, mystery and forbidden passion - in 'Viking Wolf'. Heat level: volcanic Viking Wolf is the second volume in the Viking Warriors dark romance series. Tropes and Themes: forbidden love enemies to lovers love triangle rival brothers kidnap / abduction / captive murder revenge dark romance Viking romance

The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological, and cultural value. Monstrosity is bound up with questions of body image and deformity, nature and knowledge, hybridity and horror. To explore a culture's attitudes to the monstrous is to comprehend one of its most important symbolic tools. The Monstrous Middle Ages looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writings and mystical texts to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gender and sexual identity, religious symbolism, and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. The Monstrous Middle Ages will be essential reading for anyone interested in the concept of monstrosity and its significance for both medieval cultural production and contemporary critical practice.

In this book, Nagel invites us to take a journey on an aural and oral road that explores music and emotion, and their links to the unconscious.

In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields. Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.