THE THING NO ONE TELLS YOU ABOUT DYING IS JUST HOW MUCH FUN IT CAN BE. Alive, ad exec Amanda Feral worked hard to wring enjoyment out of her days. Now that she's a zombie, it's a different story. Turns out, Seattle is home to glamorous undead of every description, and Amanda, stylish and impeccably groomed even in the afterlife - is swigging cocktails and living large (so to speak) among its elite. But there are downsides. not being able to stomach anything except alcohol and human flesh, for instance. And the fact that someone is targeting Seattle's otherwordly inhabitants for their own sinister reasons. Preying on the undead is seriously uncool. The only option is for Amanda and her zombie BFF Wndy and gorgeous gay vampire pal Gil to unearth the culprit among the legions of Seattle's bloodsuckers, shapeshifters, reapers, succubi, and demons - before they all meet a fate a lot worse than death . . . 'Worth a read; priceless, really. Road Trip of the Living Dead can't come soon enough.' Urban Fantasy Land

This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, "the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians." Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.