The Five Gates Of Hell

Moon Beach is a city built on the business of burial; funeral parlours are everywhere, low-rise like fast-food chains. But just as death is a way of life in Moon Beach, life there shows all the sign of corruption and decay. It is a place filled with colourful eccentrics and unworldly happenings.

There were very few land burials in Moon Beach. It was considered old-fashioned, unhealthy and something that only happened to the poor. Instead the dead were buried in ocean cemeteries, twelve miles out. A special festival was held every year in their honour. Children loved it. They were given white chocolate bones, marzipan skulls and ice-cream coffins on a stick. There were costume parties too. You had to wear something blue because that was the colour people went when they were buried under the sea. You could paint your hands and face if you liked, or even dye your hair. That's what people did in Moon Beach. Turned blue once a year. And then they turned blue forever...

On growing up in the American South of the 1960s—an all-American white boy—son of a long line of Methodist preachers, in the midst of the civil rights revolution, and discovering the culpability of silence within the church. By the Pulitzer Prize-winning journalist and columnist for The Birmingham News. "My dad was a Methodist preacher and his dad was a Methodist preacher," writes John Archibald. "It goes all the way back on both sides of my family. When I am at my best, I think it comes from that sermon place." Everything Archibald knows and believes about life is "refracted through the stained glass of the Southern church. It had everything to do with people. And fairness. And compassion." In Shaking the Gates of Hell, Archibald asks: Can a good person remain silent in the face of discrimination and horror, and still be a good person? Archibald had seen his father, the Rev. Robert L. Archibald, Jr., the son and grandson of Methodist preachers, as a moral authority, a moderate and a moderating force during the racial turbulence of the '60s, a loving and dependable parent, a forgiving and attentive minister, a man many Alabamians came to see as a saint. But was that enough? Even though Archibald grew up in Alabama in the heart of the civil rights movement, he could recall few words about racial rights or wrongs from his father's pulpit at a time the South seethed, and this began to haunt him. In this moving and powerful book, Archibald writes of his complex search, and of the conspiracy of silence his father faced in the South, in the Methodist Church and in the greater Christian church. Those who spoke too loudly were punished, or banished, or worse. Archibald's father was warned to guard his words on issues of race to protect his family, and he did. He spoke to his flock in the safety of parable, and trusted in the goodness of others, even when they earned none of it, rising through the ranks of the Methodist Church, and teaching his family lessons in kindness and humanity, and devotion to nature and the Earth. Archibald writes of this difficult, at times uncomfortable, reckoning with his past in this unadorned, affecting book of growth and evolution.

"My life is not complete, I was born and my mother died.""In order to protect me, my grandmother died, my uncle died, and my father disappeared."It wasn't until the end that I realized it was all because.

Think you know everything there is to know about Hammer Films, the fabled "Studio that Dripped Blood?" The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company's less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.

The Gates of Hell is the follow up to Michael Livingston’s amazing The Shards of Heaven, a historical fantasy that reveals the hidden magic behind the history we know, and commences a war greater than any mere mortal battle. Alexandria has fallen, and with it the great kingdom of Egypt. Cleopatra is dead. Her children are paraded through the streets in chains wrought of their mother's golden treasures, and within a year all but one of them will be dead. Only her young daughter, Cleopatra Selene, survives to continue her quest for vengeance against Rome and its emperor, Augustus Caesar. To show his strength, Augustus Caesar will go to war against the Cantabrians in northern Spain, and it isn't long before he calls on Juba of Numidia, his adopted half-brother and the man whom Selene has been made to marry—but whom she has grown to love. The young couple journey to the Cantabrian frontier, where they learn that Caesar wants Juba so he can use the Trident of Poseidon to destroy his enemies. Perfidy and treachery abound. Juba's love of Selene will cost him dearly in the epic fight, and the choices made may change the very fabric of the known world. “Livingston has spiced real history with a compelling dose of fantasy! Wonderfully imaginative and beautifully told.” —Bernard Cornwell, bestselling author of The Pagan Lord, on The Shards of Heaven At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Rupert Thomson's innovative and unsettling writing ranges from dystopian alternative futures to meditations on crime and cultural memory, and from historical fictions to explorations of contemporary gender violence. The essays in this collection argue that Thomson's novels and memoir are compelling case-studies in late twentieth and early twenty-first-century literature, which engage with contemporary cultural and political preoccupations through persistently off-beat and often experimental literary forms, and trouble stable definitions of genre in the process. With chapters focusing on borders, panopticism, haunting, child sexual abuse, shame, atmosphere and intertextuality, this collection offers a critical introduction to an author whose work has been overlooked by the academy for too long.