Three sailors embark on a road trip from Santa Barbara to Ensenada, Mexico to take delivery of a sailboat. But before they can leave, Tom, who is the captain of the vessel, becomes involved in a traffic accident with the Price of Pop Jeremy Princeton. Concerned for Tom's well-being, Jeremy insists Tom accompany him to his Santa Ynez estate Tierra Bella to consult with his in-house physician. While visiting the estate, Jeremy's art consultant Peter Harrison shows him two paintings; a Renoir and a Rembrandt, which have been stolen from the Swedish National Museum and which were shipped to Jeremy anonymously in a shipment of musical instruments. Also in Jeremy's possession is a mystical sphere called the Black Piper which is a mysterious and supernatural relic that at first is a god-send, but later becomes a curse. Enter Stephanie Kensington, an Interpol agent and Lynne Northland, an FBI paranormal psychologist who are assigned the Swedish National Museum case. The duo team up with a Swedish cop and a CIA agent to solve the mystery. The clues lead the group on an amazing and harrowing journey from Beirut to Stockholm to Cadiz to Ensenada where they uncover along the way some ancient mystical writings called the Emerald Tablets of Troth, a Franciscan monk whose knowledge can save the world from Armageddon, a demon called Wegreog, and a malevolent smuggling scheme led by one of the most powerful persons in the U.S. government. The Curse of the Black Piper is a light hearted tongue-in-cheek fictional adventure about three rogue sailors on a lark whose mischievous inclinations lead them into a labyrinth of extreme danger and mystical intrigue amidst the backdrop of today's contemporary world scene. The Curse of the Black Piper is an action packed, thrilling adventure that you won't want to put down.

A critical study of the individual poems. Includes reprints of original engraved texts of Songs of innocence and of experience "The Book of Thel", "The marriage of Heaven and Hell", and "Visions of the daughters of Albion".

In Drake's new Hammer's Slammers novel, the Lt. Arne Huber is caught in the middle of a flaming war on Plattner's World and calls on Col. Hammer and his Slammers.

When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America? In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women's literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy--cross-racial impersonations or "racechanges"--throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of "mainstream" artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating "racechanges" Gubar discusses include whites posing as blacks and blacks "passing" for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability. Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.

Offers a comprehensive overview of story of the Pied Piper, exploring the origins of the story, the various forms of the legend, its influence on literary history, and other related topics.

The Cloud Holders by Bethany Campbell released on May 24, 1991 is available now for purchase.