Edited by Rebecca Brewer, formerly of Ace/Roc (Penguin Random House), Giving the Devil His Due features sixteen major names and rising stars in Fantasy, Science Fiction, and Horror today.

In Giving the Devil His Due, the Pixel Project's first charity anthology, sixteen acclaimed fantasy, science fiction, and horror authors take readers on an unforgettable journey to alternative worlds where men who abuse and murder women and girls meet their comeuppance in uncanny ways. Featuring stories from Stephen Graham Jones, Christina Henry, Peter Tieryas, Kelley Armstrong, Linda D. Addison, Hillary Monahan, and more, Giving the Devil His Due presents sixteen stories that will make you think about the importance of justice for the victims of gender-based violence, how rare this justice is in our own world, and why we need to end violence against women once and for all.

Explores how free speech and open inquiry are integral to science, politics, and society for the survival and progress of our species.

HEADZ-zINe is a periodical output of the HEADZ Project. Taking the form of the fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its participants, and through a series of in-depth interviews and complimentary analysis of the artefacts and archives of hip hop, reveals a set of previously untold stories. HEADZ-zINe is created with much the same immediacy as a zine. It is produced within a period of weeks, is self-published and designed using standard domestic hardware and software. Although the topic addressed is historical, participants’ reflections illustrate the immediacy and closeness of this material to their current lives. True to the aims of the fanzine, HEADZ-zINe illuminates the histories of music culture which have previously been largely un-documented. These histories are told through the personal and collective stories of their participants. HEADZ-zINe is freely distributed, and the inaugural issue has been manufactured with a print-run of only 200 copies, in addition to being available in an expanded edition online. The zine presents a continued engagement with questions of knowledge production and dissemination. HEADZ-zINe has been developed in collaboration with practitioners and seeks to foreground their histories, thoughts, and ideas. We are interested in how hip hop offers practitioners a way of engaging with and knowing the world through music, artistic and dance practices. In this, we take hip hop seriously as a cultural form through which practitioners and fans learn, share and archive knowledge. Hip hop practitioners are both the creators of and thinkers about hip hop, they are local intellectuals. The principal focus of this zine is on the voices of hip hop practitioners themselves as they not only tell but theorise hip hop history. As accumulators of vinyl records, flyers, posters, photographs, and magazines ourselves we are interested in what these artefacts and archives can reveal to us about the creative acts of curating and remembering cultural history. We are interested in exploring how involvement in hip hop culture shaped the lives of practitioners and provided a space for creatively, imaginatively, and intellectually engaging with the world around them.

Finalist, 2021 Bram Stoker Awards (Superior Achievement in Non-Fiction) The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Satan is instead a force active in our lives. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Contributors: Simon Bacon, Katherine A. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Knowlton, Eloise R. Knowlton, Murray Leeder, Catherine O’Brien, R. Barton Palmer, Carl H. Sederholm, David Sterritt, J. P. Telotte, Jeffrey Andrew Weinstock

Flannery O'Connor and Fyodor Dostoevsky shared a deep faith in Christ, which compelled them to tell stories that force readers to choose between eternal life and demonic possession. Their either-or extremism has not become more popular in the last fifty to a hundred years since these stories were first published, but it has become more relevant to a twenty-first-century culture in which the lukewarm middle ground seems the most comfortable place to dwell. Giving the Devil His Due walks through all of O'Connor's stories and looks closely at Dostoevsky's magnum opus The Brothers Karamazov to show that when the devil rules, all hell breaks loose. Instead of this kingdom of violence, O'Connor and Dostoevsky propose a kingdom of love, one that is only possible when the Lord again is king.