A whole class of boys disappear without trace from their school. Another set of boys apparently witness what happened but are physically prevented from describing what they saw for some months. This latter group of boys separate to follow their own careers, marry and raise children, but are eventually all brought together again in an engineering capacity – despite earlier interests. Working together they devise new alloys and electronic communication devices. They build a model of machine they believe will travel through space – at the same time secretly building the parts for a full size machine. The model is tested in front of witnesses and performs perfectly but disappears from all monitoring systems for most of the test flight. While testing the new communication device a message is received from their old school friends who vanished those years ago. It takes some convincing of others that these boys (men now|) are still alive but permission is given for the full size machine to be built. Whole families are smuggled aboard the machine which, rather than going for a test flight, heads for the planet where their old friends are waiting. On arrival they find that all the people there have to be underground at night and in well lit places; any person, or animal, left outside at night is found dead the next day. They explore the planet, make friends with unknown animals, but are caught outside at night. A call for help is answered and they all survive, but now have a mission to destroy the darkness. They return to Earth to pick up people versed in ancient magics and return to Paxlene where, after adventures the darkness is defeated. An attempt is made to return the special people to Earth but fails as the Earth is about to be hit by a giant Asteroid. They are able to cocoon parts of the Earth and shield them from the catastrophe, but it all happens too quickly for anyone to be returned home. They try return to Paxlene, now free of evil, where they plan to help to build new societies out in the open, but something takes over their controls. The story continues with ‘Wormhole’ , and will conclude with a third tale which has a working title of “Restitution”.

Imprisoned for murdering her monstrous husband, a woman confronts her past in this dark psychological thriller by the author of White Is the Coldest Color. When twenty-nine-year-old Cynthia Galbraith struggles to come to terms with her traumatic past and the realities of prison life, a prison counselor persuades her to write a diary exploring the events that led to a life sentence for murder. Although unconvinced at first, Cynthia finally decides she has all the time in the world and very little, if anything, to lose. As she begins writing she holds back nothing: sharing the thoughts she hadn't dare vocalize, the things that keep her awake at night and haunt her waking hours. Even the darkest secrets cannot stay hidden forever. . . . Praise for When Evil Calls Your Name “A great follow up to White is the Coldest Color that intrigues and keeps you turning the pages.” —Mark Tilbury, bestselling author of The Last One to See Her “A superbly written thriller.” —Louise Mullins, bestselling author of What I Never Told You

Illuminating selections from Jung’s writings on the nature of evil Well-known for his articulation of the “shadow side” of human individuality and culture, C. G. Jung wrote a great deal about the question of evil throughout his life and in scattered places in his work. In this book, Murray Stein brings together key selections of Jung’s writings on the subject. In Jung’s early work on the unconscious, he considered the role of evil in the mental processes of the severely disturbed. Later, he viewed the question of moral choice within the framework of his ideas about archetypes and discussions about moral choices, conscience, and the continual ethical reflection that is necessary for all of us. The material here includes letters to Freud and Father Victor White and writings ranging from his Answer to Job to his travel piece on North Africa.

The great Empire, which now rules over two million galaxies, faces its first internal civil war, as two special solar systems fall under the influence of Demons of Mezokovácsházi. They challenge the Throne's new laws against separation. The Harvey refused to leave the worlds they received when the Empire first formed. Believing that history has proven all wish them genocide, they follow their new false leader, Báránd who meets an unexpected adversary. Acsa, a Harvey university student makes a pen pal from the planet Gorbachyov, who is of Stuart's ancestry. The Harvey goddess Siusan unites them, allowing their bond to cement. They hold hands to show their unity. Báránd discovers this and demands that they appear before Harvey court for execution. Harvey law declares that no Harvey may touch a nonHarvey. Siusan prepares young Acsa and her Gorbachyov friend Golubev for a special war in which they will attempt to save as many Harvey from the Master's ensuing great wrath as possible. For salvation, they must declare their allegiance to the throne. Those who save themselves will be integrated into new worlds throughout all the Empire's galaxies and live as equals. They train diligently and suffer through many challenges until her calling is finished.

Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive - yet scarcely talked about - areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil's Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.

The rapid advancement of digital multimedia technologies has not only revolutionized the production and distribution of audiovisual content, but also created the need to efficiently analyze TV programs to enable applications for content managers and consumers. Leaving no stone unturned, TV Content Analysis: Techniques and Applications provides a detailed exploration of TV program analysis techniques. Leading researchers and academics from around the world supply scientifically sound treatment of recent developments across the related subject areas—including systems, architectures, algorithms, applications, research results, emerging approaches, and open issues. The book is organized into six parts: Content Extraction - deals with automatic analysis and annotation of TV content, addressing generic semantics and concepts as well as TV content Content Structuring - examines techniques for identifying interesting parts of TV programs and supplying direct access to it Content Recommendation - explores the problem of providing users with the most relevant content, addressing the problem of an ever-increasing amount of available content Content Quality - considers visual perception and quality approaches in the multi-display TV context and the specific mobile TV scenario Web and Social TV - presents studies on Web and TV convergence and on how user-generated content in Web 2.0 applications can be used to enhance services Content Production - covers postproduction, visual effects, and presentation standards Most parts start with a chapter that provides an overview of that area, followed by state-of-the-art approaches focusing on specific issues covered in that section. Reporting on recent advances in the field, the book provides you with the global view and up-to-date understanding of emerging trends needed to participate in the development of the digital TV domain.

Why Are You Shouting?, James Womack's fourth Carcanet collection, thinks about two things in particular: our struggle as individuals to find connections between ourselves, with friends, family and lovers, and the efforts we make as groups to connect to the environment we live and die in. Written in the shadow of the climate crisis and the pandemic years, the poems set out to find points of hope and solidarity, against a common backdrop of disruption and collapse to which we are often wilfully blind. Alongside these concerns runs a narrative of personal blindness and self-enchantment, a willingness to allow oneself to be misled in order to have a quiet life. If the collection's title suggests that raising one's voice is the readiest way to reach other people, the poems themselves dare to offer quieter solutions, too: there is space for humour and kindness, even a degree of positive thinking about the state the world is in. The ghost of Cassandra, the Trojan princess given the gift of prophecy but condemned to have no one believe her words, haunts the collection: her life is a warning, but also an antidote to willed ignorance. 'The God of whom I speak is dead. I did my makeup in a disco ball. I looked at the whole magnificent creation of the Lord, and asked, sadly, "Is it cake?"'