Boss, a loner, loved to dive into derelict spacecraft adrift in the blackness of space... But one day, she found a ship that would change everything—an ancient Dignity Vessel—and aboard the ship, the mysterious and dangerous Stealth Tech. Now, years after discovering that first ship, Boss has put together a large company that finds Dignity Vessels and finds "loose" Stealth Technology. Following a hunch, Boss and her team come to investigate the city of Vaycehn, where fourteen archeologists have died exploring the endless caves below the city. Mysterious "death holes" explode into the city itself for no apparent reason, and Boss believes Stealth Tech is involved. As Boss searches for the answer to the mystery of the death holes, she will uncover the answer to her Dignity Vessel quest as well—and one more thing, something so important that it will change her life—and the universe—forever. From the Trade Paperback edition.

This psychoanalytic study reads Jewish apocalypses as texts of mourning for the destruction of Jerusalem, arguing that the seers' experiences of traumatic loss, then visions of healing and recovery, all work to achieve the ‘apocalyptic cure’ for ancient Jewish society.

Fiction. In OUR COLONY BEYOND THE CITY OF RUINS, an insomniac will do anything for sleep, crones released from a buried heart take over a town, a woman chooses to live her last days in a cave overlooking the sea, earthquake survivors establish a colony in a remote forest. With unwavering imagination and heart, Janalyn Guo delivers a cast of characters who find their own unusual ways to endure. "These stories take the gestures of new wave fabulism and make it newer and even more wavy, by being genuinely international. Here's a book that shivers with possibility and wonder and surprise, where plants grow from people's bodies, where ghosts exist even before someone is dead. Guo isn't afraid to take on even the thoroughly weird in the most delightful way. This is what it's like to see a genre revivified."--Brian Evenson "OUR COLONY BEYOND THE CITY OF RUINS is an absolute delight, a wild collection that unsettles as much as it entertains. Guo shows an impressive range and deep emotional intelligence--this is a rare book of both strangeness and heart."--Kelly Luce

The Roman Empire has been a source of inspiration and a model for imitation for Western empires practically since the moment Rome fell. Yet, as Julia Hell shows in The Conquest of Ruins, what has had the strongest grip on aspiring imperial imaginations isn’t that empire’s glory but its fall—and the haunting monuments left in its wake. Hell examines centuries of European empire-building—from Charles V in the sixteenth century and Napoleon’s campaigns of the late seventeenth and early eighteenth centuries to the atrocities of Mussolini and the Third Reich in the 1930s and ’40s—and sees a similar fascination with recreating the Roman past in the contemporary image. In every case—particularly that of the Nazi regime—the ruins of Rome seem to represent a mystery to be solved: how could an empire so powerful be brought so low? Hell argues that this fascination with the ruins of greatness expresses a need on the part of would-be conquerors to find something to ward off a similar demise for their particular empire.

This richly illustrated book examines the changing significance of ruins as vehicles for cultural memory in Chinese art and visual culture from ancient times to the present. The story of ruins in China is different from but connected to “ruin culture” in the West. This book explores indigenous Chinese concepts of ruins and their visual manifestations, as well as the complex historical interactions between China and the West since the eighteenth century. Wu Hung leads us through an array of traditional and contemporary visual materials, including painting, architecture, photography, prints, and cinema. A Story of Ruins shows how ruins are integral to traditional Chinese culture in both architecture and pictorial forms. It traces the changes in their representation over time, from indigenous methods of recording damage and decay in ancient China, to realistic images of architectural ruins in the nineteenth and twentieth centuries, to the strong interest in urban ruins in contemporary China, as shown in the many artworks that depict demolished houses and decaying industrial sites. The result is an original interpretation of the development of Chinese art, as well as a unique contribution to global art history.

A colossal statue, originally built to honor an ancient pharaoh, still stands today in Egyptian Thebes, with more than a hundred Greek and Latin inscriptions covering its lower surfaces. Partially damaged by an earthquake, and later re-identified as the Homeric hero Memnon, it was believed to "speak" regularly at daybreak. By the middle of the first century CE, tourists flocked to the colossus of Memnon to hear the miraculous sound, and left behind their marks of devotion (proskynemata): brief acknowledgments of having heard Memnon's cry; longer lists by Roman administrators; and more elaborate elegiac verses by both amateur and professional poets. The inscribed names left behind reveal the presence of emperors and soldiers, provincial governors and businessmen, elite women and military wives, and families with children. While recent studies of imperial literature acknowledge the colossus, few address the inscriptions themselves. This book is the first critical assessment of all the inscriptions considered in their social, cultural, and historical context. The Memnon colossus functioned as a powerful site of engagement with the Greek past, and appealed to a broad segment of society. The inscriptions shed light on contemporary attitudes toward sacred tourism, the role of Egypt in the Greco-Roman imagination, and the cultural legacy of Homeric epic. Memnon is a ghost from the Homeric past anchored in the Egyptian present, and visitors yearned for a "close encounter" that would connect them with that distant past. The inscriptions thus idealize Greece by echoing archaic literature in their verses at the same time as they reflect their own historical horizon. These and other subjects are expertly explored in the book, including a fascinating chapter on the colossus's post-classical life when the statue finds new worshippers among Romantic artists and poets in nineteenth-century Europe.