DOCSLIB.ORG

Blackmark (Gil Kane & Archie Antarctic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Blackmark (Gil Kane & Archie Antarctic HAT ARE SOME their powers has been outlawed. It begins CONTEMPORARY CLASSIC with investigating the murder of Edward GRAPHIC NOVELS THAT TEENS WILL LOVE? Blake, and results in four superheroes fighting against Dr. Manhattan in the Blackmark (Gil Kane & Archie Antarctic. The graphic novel is known for its Goodwin, 1971) political commentary and stylized writing. It Blackmark is a tale that blends won the Hugo Award (Science science and fantasy. It tells the story of a Fiction/Fantasy) in 1988, and was adapted warrior who tries to unite the warring into a movie in 2009. factions of his world. He is forced to battle V for Vendetta (Alan Moore against selfish lords, and other warriors who & David Lloyd, 1982) exercise ruthless power over the population. It is hailed as one of the first American Set in a post nuclear war era, graphic novels, and was reissued in 2002 Great Britain is ruled by a fascist party with the planned second book The Mind called "Norsefire." A vigilante narked "V" Demons and an historical afterward wearing a Guy Fawkes mask tries to disrupt appended to the end of the original story. the Norsefire's plots to subjugate the British Watchmen (Alan Moore & Dave people. In his personal rebellion against the Gibbons & John Higgins, 1987) state, "V" murders all the individuals Watchmen establishes an involved with his incarceration at Larkhill alternative history where and the medical experiments inflicted upon superheroes helped the United States win the innocent people and criminals. Eventually, Vietnam War. Superheroes at the time of the "V"s companion Evey questions his story have become unpopular, and the use of 25 methods of urging political change, but in Persepolis 1 &2 (Marjane Satrapi, 2000) the end helps him realise his dream of Persepolis is set in Iran freeing the British people from the "eye", during and after the Islamic "ear", and "mouth" that dominated their Revolution; it tellsthe story lives. V for Vendetta was made into a of protagonist Satrapi's successful movie in 2006. childhood and burgeoning Maus I: A Survivor's Tale: adulthood. In the first book, Satrapi focuses My Father Bleeds History on her childhood and talks about her (Art Spiegelman, 1986) struggle to develop her sense of faith, Spiegelman's story is that of his father's understand the revolution, and cope with the survival of World War II, and his life as a changing world of Iran. In the second book, polish Jew in New York City. The novel Satrapi focuses on her early adulthood, her examines Spiegelman's difficulty in trying time spent in Vienna, her struggles to to understand his father who is a stingy and understand a new culture, and her fear for difficult man. Although having suffered at her family's safety. The graphic novels have the hands of the Germans, Vladek been translated from French into English, ,Spiegelman's father, feels racism towards and were made into an animated movie in others. All the characters are depicted as 2007. animals (Jews as mice, Germans as cats, NHL GTIMAN The Sandman Vol. 1: American's as dogs, etc.) In 1992, it won Preludes & Nocturnes (Neil the Pulitzer Prize. Gaiman & Sam Kieth & Mike Dringenberg & Malcolm Jones III, 1988-9) 26 Preludes & Nocturnes is a collection of the relationship with her father and her first 8 comics in the Sandman Saga. It tells burgeoning life as a lesbian. Bechdel relates the story of Dream's imprisonment by an the story of her father's closet occultist who seeks immortality. When homosexuality and the brief moments he Dream escapes, he embarks on a journey to was honest with himself. Their relationship reclaim his objects of power: a pouch of was strained, and his court trial over an sand, a helm, and a ruby. In the quest to encounter with a young boy causes gather his totems, Dream deals with John Bechdel's growth into womanhood to be Constantine's girlfriend, Lucifer, and Doctor overshadowed. Bechdel uses wit and Destiny. Many characters that Dream intimacy to tell a story of real life difficulties encounters can be found in other comic and how forgiveness oftentimes takes longer series (ex: Dr. Destiny is from the Justice than one wishes to admit. The novel was a League of America) and makes for excellent finalist for the National Book Critics Circle cross series plotlines and intrigues. The Award, and won the Eisner Award in 2007 comic was reissued in 2010, and you can for Best Reality-Based Work.Bechdel is also find the first 20 issues of Sandman collected known for her popular syndicated comic within the Absolute Sandman Vol. 1 strip Dykes to Watch Out For. Fun Home: A Family Tragicomic (Alison Pride of Baghdad (Brian K. Bechdel, 2006) Vaughan & Niko Henrichon, 2006) In this autobiography, Bechdel tells about her 27 Pride of Baghdad is based on the true event Science Fiction Fahrenheit 451 of four African lions that escaped from the (Ray Bradbury, 1953) Flowers for Algernon (Daniel Keyes, 1966) Baghdad Zoo after the United States Anna to the Infinite Power bombed Baghdad in 2003. As the four lions (Mildred Ames, 1986) His Dark Materials prowl around the city looking for food and (Philip Pullman, 1995- 2000) safety, their different personalities begin to emerge. Zill is the male lion and yearns to Dystopian 1984 (George Orwell, 1949) once again see the African horizon, Noor The Giver (Lois Lowry, 1993) (Zill's current mate) has schemed for a long Noughts& Crosses time to get out of the Zoo, Ali is impulsive (Malorie Blackman, 2001) and curious of the new world into which she Fantasy has been released, and Safa is an old lioness Chronicles of Narnia (C.S. Lewis, 1950- that wants to return to the safety of the zoo. 1956) The Princess Bride (William Goldman, It is a story of family, survival, and 1973). questions about the price of freedom. The Sabriel(Garth Nix, 1995) novel won the IGN award for best original Romance graphic novel in 2006. Mr. and Mrs. Bo Jo Jones (Ann Head, 1968) Puberty Blues (Kathy Lette& Gabrielle MODEM CLASSIC NOVELS FOR TEENS: Carey, 1979) A LIST Sooner or Later (Bruce & Carole Hart, Classics In the Making: 1983) Harry Potter (J.K. Rowling, 2000) Undercover (Beth Kephart, 1998) The Hunger Games (Suzanne Collins, 2010) Discworld Series (Terry Pratchett, ) Realistic Fiction The Catcher in the Rye (J.D. Salinger, 1951) 28.
Load more

Recommended publications
  • LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
    LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting
    [Show full text]
  • Alan Moore's Miracleman: Harbinger of the Modern Age of Comics
    Alan Moore’s Miracleman: Harbinger of the Modern Age of Comics Jeremy Larance Introduction On May 26, 2014, Marvel Comics ran a full-page advertisement in the New York Times for Alan Moore’s Miracleman, Book One: A Dream of Flying, calling the work “the series that redefined comics… in print for the first time in over 20 years.” Such an ad, particularly one of this size, is a rare move for the comic book industry in general but one especially rare for a graphic novel consisting primarily of just four comic books originally published over thirty years before- hand. Of course, it helps that the series’ author is a profitable lumi- nary such as Moore, but the advertisement inexplicably makes no reference to Moore at all. Instead, Marvel uses a blurb from Time to establish the reputation of its “new” re-release: “A must-read for scholars of the genre, and of the comic book medium as a whole.” That line came from an article written by Graeme McMillan, but it is worth noting that McMillan’s full quote from the original article begins with a specific reference to Moore: “[Miracleman] represents, thanks to an erratic publishing schedule that both predated and fol- lowed Moore’s own Watchmen, Moore’s simultaneous first and last words on ‘realism’ in superhero comics—something that makes it a must-read for scholars of the genre, and of the comic book medium as a whole.” Marvel’s excerpt, in other words, leaves out the very thing that McMillan claims is the most important aspect of Miracle- man’s critical reputation as a “missing link” in the study of Moore’s influence on the superhero genre and on the “medium as a whole.” To be fair to Marvel, for reasons that will be explained below, Moore refused to have his name associated with the Miracleman reprints, so the company was legally obligated to leave his name off of all advertisements.
    [Show full text]
  • Exception, Objectivism and the Comics of Steve Ditko
    Law Text Culture Volume 16 Justice Framed: Law in Comics and Graphic Novels Article 10 2012 Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Jason Bainbridge Swinburne University of Technology Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Bainbridge, Jason, Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko, Law Text Culture, 16, 2012, 217-242. Available at:https://ro.uow.edu.au/ltc/vol16/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Abstract The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. This relationship has also informed superhero comics themselves – going all the way back to Superman’s debut in Action Comics 1 (June 1938). As DC President Paul Levitz says of the development of the superhero: ‘There was an enormous desire to see social justice, a rectifying of corruption. Superman was a fulfillment of a pent-up passion for the heroic solution’ (quoted in Poniewozik 2002: 57). This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol16/iss1/10 Spider-Man, The Question and the Meta-Zone: Exception, Objectivism and the Comics of Steve Ditko Jason Bainbridge Bainbridge Introduction1 The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law.
    [Show full text]
  • Orwellian Methods of Social Control in Contemporary Dystopian Literature
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Documental de la Universidad de Valladolid FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO A Nightmarish Tomorrow: Orwellian Methods of Social Control in Contemporary Dystopian Literature Pablo Peláez Galán Tutora: Tamara Pérez Fernández 2014/2015 ABSTRACT Dystopian literature is considered a branch of science fiction which writers use to portray a futuristic dark vision of the world, generally dominated by technology and a totalitarian ruling government that makes use of whatever means it finds necessary to exert a complete control over its citizens. George Orwell’s 1984 (1949) is considered a landmark of the dystopian genre by portraying a futuristic London ruled by a totalitarian, fascist party whose main aim is the complete control over its citizens. This paper will analyze two examples of contemporary dystopian literature, Philip K. Dick’s “Faith of Our Fathers” (1967) and Alan Moore’s V for Vendetta (1982-1985), to see the influence that Orwell’s dystopia played in their construction. It will focus on how these two works took Orwell’s depiction of a totalitarian state and the different methods of control it employs to keep citizens under complete control and submission, and how they apply them into their stories. KEYWORDS: Orwell, V for Vendetta , Faith of Our Fathers, social control, manipulation, submission. La literatura distópica es considerada una rama de la ciencia ficción, usada por los escritores para retratar una visión oscura y futurista del mundo, normalmente dominado por la tecnología y por un gobierno totalitario que hace uso de todos los medios que sean necesarios para ejercer un control total sobre sus ciudadanos.
    [Show full text]
  • A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer
    A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY By Michael Buso A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2010 ACKNOWLEDGMENTS This thesis would not have been possible without the fundamental assistance of Barclay Barrios, the hours of office discourse with Eric Berlatsky, and the intellectual analysis of Don Adams. The candidate would also like to thank Robert Wertz III and Susan Carter for their patience and support throughout the writing of this thesis. iii ABSTRACT Author: Michael Buso Title: A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer Identity Institution: Florida Atlantic University Thesis Advisor: Dr. Barclay Barrios Degree: Master of Arts Year: 2010 This thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore’s Lost Girls, Frank Miller’s Batman: The Dark Knight Returns, and Michael Chabon’s prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that, despite the homophobic tendencies of these texts, the very nature of comics (their visual aspects, panel structures, and blank gutters) allows for an alternative space for positive queer identities. iv A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY TABLE OF FIGURES ....................................................................................................... vi I. INTRODUCTION ................................................................................................... 1 Theoretical Framework ..................................................................................................
    [Show full text]
  • Mechanisms of Control in Alan Moore's "V for Vendetta" and George Orwell's "1984"
    Mechanisms of Control in Alan Moore's "V for Vendetta" and George Orwell's "1984" Prtenjača, Zvonimir Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:668248 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-01 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i povijesti Zvonimir Prtenjača Mehanizmi kontrole u romanima "O za osvetu" Alana Moorea i "1984." Georgea Orwella Završni rad Mentor: doc. dr. sc. Ljubica Matek Osijek, 2018. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i povijesti Zvonimir Prtenjača Mehanizmi kontrole u romanima "O za osvetu" Alana Moorea i "1984." Georgea Orwella Završni rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Mentor: doc. dr. sc. Ljubica Matek Osijek, 2018. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double Major BA Study Programme
    [Show full text]
  • Sandman, Aesthetics and Canonisation Today I Want To
    Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine.
    [Show full text]
  • Alan Moore and Dave Gibbons's Watchmen
    NACAE National Association of Comics Art Educators Reading Questions: Alan Moore and Dave Gibbons's Watchmen 1. What different themes does this book explore? Be as detailed and exhaustive as possible. 2. Pick a panel and analyze how Moore and Gibbons combine text and visuals to their utmost effect. 3. Pick a page and analyze its overall layout. How does the page as a whole make use of the comic book format to achieve meaning and impact. You might find it helpful to consider the larger themes of Watchmen. 4. Visual motifs are recurrent images that take on specific meanings relevant to a given work. What visual motifs appear throughout Watchmen and what meanings do they suggest? 5. How does the issue of crimefighting evolve over time in the world imagined in Watchmen? 6. Consider the names "Rorschach" and "Ozymandias." Why are these particularly appropriate names for these two characters? 7. Which character or characters do you sympathize with most? Why? 8. What does Chapter IV, "Watchmaker," reveal to us about Dr. Manhattan? How does he experience time? What are his interests? How would you summarize his view of existence? 9. How do Moore and Gibbons use the imagined history in Watchmen to comment on real events in 20th century America? 10. Look closely at Chapter V, "Fearful Symmetry." How does the idea of "symmetry" play out in this chapter in both form and content? 11. What are the worldviews of Dr. Manhattan, Rorschach, and Adrian Veidt? Where do these worldviews intersect? Where do they differ? 12. What does Watchmen suggest about masked crimefighters and their costumes? Which characters bring these ideas most clearly into focus? 13.
    [Show full text]
  • The Polyphonic Poetics of Watchmen by Alan Moore and Dave Gibbons and Its Ontological Implications Roy Auh, Duke University, 2016
    The Polyphonic Poetics of Watchmen by Alan Moore and Dave Gibbons and Its Ontological Implications Roy Auh, Duke University, 2016 Introduction In Russia at the end of the 1920s, a failed philosopher with a limp1 tried to make sense of the world that was becoming more kaleidoscopic with each spin of its axis. He could not count on any ideologies to anchor him about the world, on the question of what it means to be human. He lived in a time when any reliable ideological answers were collapsing left and right and nothing was safe from deconstruction2: World War I shattered any structural cornerstones in all spheres of society and knowledge: Russian Revolution dismantled the Tsarist autocracy; Arnold Schoenberg abandoned tonality in music; Albert Einstein proved the fragility of physical reality; Sigmund Freud revealed the human mind to be a misunderstood cosmos; and Gertrude Stein challenged absoluteness of denotations while James Joyce reconfigured syntax. New forms of being in all disciplines were abounding, and the world needed a new system of thought to accommodate all the different voices that were populating the world. Nonetheless, as much as his anxiety stemmed from the storm of innovations, it also came from his physical danger; he was under Stalin’s watch during the purge of intellectuals, which eventually produced his sentence to an exile in Siberia (Gogotishvili). This philosopher, Mikhail Bakhtin, however, found his answer to the uncertainty about human ontology in a literary giant that received the same criminal sentence in the previous century: Fyodor Dostoevsky. From reading his novels, Bakhtin conceptualized literary polyphony, a novelistic system that allowed subjective independence and freedom to each character’s consciousness by eliminating the author’s governing voice.
    [Show full text]
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]
  • The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
    University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats.
    [Show full text]
  • Date Issued Date Discussed Title Author Genre
    Date issued Date discussed Title Author Genre Tuesday, July 20, 2010 Tuesday, August 17, 2010 Eyes of the Overworld Jack Vance Fantasy Tuesday, August 17, 2010 Tuesday, September 21, 2010 Boneshaker Cherie Priest Science Fiction Tuesday, September 21, 2010 Tuesday, October 19, 2010 Hood Steve Lawhead Fantasy Tuesday, October 19, 2010 Tuesday, November 16, 2010 Hyperion Dan Simmons Science Fiction Tuesday, November 16, 2010 Tuesday, December 21, 2010 Lankhmar Book 1: Swords and Deviltry Fritz Leiber Fantasy Tuesday, December 21, 2010 Tuesday, January 18, 2011 Brave New World Aldous Huxley Science Fiction Tuesday, January 18, 2011 Tuesday, February 15, 2011 A Game of Thrones (A Song of Ice and Fire, Book 1) George R.R. Martin Fantasy Tuesday, February 15, 2011 Tuesday, March 15, 2011 Hull Zero Three Greg Bear Science Fiction Tuesday, March 15, 2011 Tuesday, April 19, 2011 The Lies of Locke Lamora Scott Lynch Fantasy Tuesday, April 19, 2011 Tuesday, May 17, 2011 Never Let Me Go Kazuo Ishiguro Science Fiction Tuesday, May 17, 2011 Tuesday, June 21, 2011 The Name of the Wind Patrick Rothfuss Fantasy Tuesday, June 21, 2011 Tuesday, July 19, 2011 Old Man's War John Scalzi Science Fiction Tuesday, August 16, 2011 NO MEETING Tuesday, August 16, 2011 Wednesday, September 07, 2011 Something Wicked This Way Comes Ray Bradbury Fantasy Wednesday, September 07, 2011 Wednesday, October 05, 2011 Altered Carbon Richard Morgan Science Fiction Wednesday, October 05, 2011 Wednesday, November 02, 2011 Prospero's Children Jan Siegel Fantasy Wednesday, November 02, 2011 Wednesday, December 07, 2011 Replay Ken Grimwood Science Fiction Wednesday, December 07, 2011 Wednesday, January 04, 2012 Raising Stony Mayhall Daryl Gregory Fantasy Wednesday, January 04, 2012 Wednesday, February 01, 2012 The Moon Is a Harsh Mistress Heinlein, Robert Science Fiction Wednesday, February 01, 2012 Wednesday, March 07, 2012 Talion: Reverenct Michael A.
    [Show full text]