Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

For three decades in the fifth century B.C. the ancient world was torn apart by a conflict that was as dramatic, divisive, and destructive as the world wars of the twentieth century: the Peloponnesian War. Donald Kagan, one of the world’s most respected classical, political, and military historians, here presents a new account of this vicious war of Greek against Greek, Athenian against Spartan. The Peloponnesian War is a magisterial work of history written for general readers, offering a fresh examination of a pivotal moment in Western civilization. With a lively, readable narrative that conveys a richlydetailed portrait of a vanished world while honoring its timeless relevance, The Peloponnesian War is a chronicle of the rise and fall of a great empire and of a dark time whose lessons still resonate today.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Written in 1914 but not published until 1925, a year after Kafka’s death, The Trial is the terrifying tale of Josef K., a respectable bank officer who is suddenly and inexplicably arrested and must defend himself against a charge about which he can get no information. Whether read as an existential tale, a parable, or a prophecy of the excesses of modern bureaucracy wedded to the madness of totalitarianism, The Trial has resonated with chilling truth for generations of readers.

I don’t know what to do with these stars anymore. I give stars to books and then I think, ‘god, you give five stars to everything, people will think you are terribly undiscriminating’ – so then I give four stars or even three stars to some books. Then I look back and it turns out that that I’ve given four stars to Of Human Bondage and honestly, how could I possibly have thought it was a good idea to give that book less than five stars? It is the absurdity of human conventions that has us doing such things.Now, that is what is called a segue, from the Italian ‘seguire’ – to follow. For the last thirty years I have studiously avoided reading this book. I have done that because for the last thirty years I have known exactly what this book is about and there just didn’t seem any point in reading it. In high school friends (one of them even became my ex-wife) told me it was a great book about a man condemned to die because he was an outsider. Later I was told that this book was a story about something much like the Azaria Chamberlain case. A case where someone does not react in a way that is considered to be ‘socially appropriate’ and is therefore condemned.But after 30 years of avoiding reading this book I have finally relented and read it. At first I didn’t think I was going to enjoy it. It didn’t really get off to the raciest of starts and the character's voice – it is told in first person – was a bit dull. He is a man who lives entirely in the present, how terribly Buddhist of him – although, really there doesn’t seem to be all that much to him.My opinion of the book began to change at his mother’s funeral. I particularly liked the man who kept falling behind in the march to the cemetery and would take short cuts. Okay, so it is black humour, but Camus was more or less French – so black humour is more or less obligatory.I really hadn’t expected this book to be nearly so funny as it turned out. I’d always been told it was a ponderous philosophical text – and so, to be honest, I was expecting to be bored out of my skull. I wasn’t in the least bit bored.A constant theme in my life at present is that I read ‘classics’ expecting them to be about something and they end up being about something completely different. And given I’ve called this a ‘constant’ theme then you might think I would be less than surprised when a read a new ‘classic’ and it turns out to be completely different to my expectations. I’m a little more upset about this one than some of the others, as I’ve been told about this one before, repeatedly, and by people I’d have taken as ‘reputable sources’ – although, frankly, how well one should trust one’s ex-wife in such matters is moot.I had gotten the distinct impression from all of my previous discussions about this book that the guy ends up dead. In fact, this is not the case – he ends up at the point in his life where he has no idea if he will be freed or not. The Priest who comes to him at the end is actually quite certain that he will be freed. Let’s face it, he is only guilty of having murdered an Arab, and as we have daily evidence, Westerners can murder Arabs with complete impunity. The main point of the book to me is when he realises he is no longer ‘free’. He needs this explained to him – because life up until then had been about ‘getting used to things’ and one can 'get used to just about anything'. But the prison guard helpfully informs him that he is being ‘punished’ and the manifestation of that punishment is the removal of his ‘freedom’. Interestingly, he didn’t notice the difference between his past ‘free’ life and his current ‘unfree’ one. The most interesting part of the book to me was the very end, the conversation with the priest. The religious often make the mistake of thinking that Atheists are one thing – I’ve no idea how they ever came to make this mistake, but make it they do. Given that there are thousands upon thousands of different shades of Christians – from Jesuit Catholics to Anti-Disney Episcopalians – it should be fairly obvious that something like Atheism (without any ‘organised’ church or even system of beliefs) could not be in anyway ‘homogeneous’.I am definitely not the same kind of Atheist as Camus. To Camus there is no truth, the world is essentially absurd and all that exists is the relative truth an individual places on events and ideas. This makes the conversation with the priest fascinatingly interesting. To the priest the prisoner who is facing death is – by necessity – someone who is interested in God. You can play around with ideas like the non-existence of God when it doesn’t seem to matter (life is long and blasphemy can seem fun) – but surely when confronted with the stark truth of the human condition any man would turn away from their disbelief and see the shining light.Not this little black duck. Now, if I was in that cell I would have argued with the priest too – but I would not have argued in the same way that Meursault argues. No, I do not believe in God, but I do believe in truth, and so Camus’ arguments are barred to me.Meursault essentially says, “Look, I’m bored, I’m totally uninterested in the rubbish you are talking – now go away”. Now, this is a reasonable response. What is very interesting is that the priest cannot accept this as an answer. The world is not allowed to have such a person in it – if such a person really did exist then it would be a fundamental challenge to the core beliefs of the priest. So, he has to assume Meursault is either lying to him or is trying to taunt him. But it is much worse – he is absolutely sincere, he is not interested in this ‘truth’.I don’t know that the world is completely meaningless, it is conventional rather than meaningless. That those conventions are arbitrary (decided by the culture we grew up in) doesn’t make them meaningless, it makes them conventional. I don’t think I would like to live in a world where people go up and kill Arabs pretty much at random and with impunity, but then again, we have already established this is precisely the world I do live in. My point is that it would be better if we did adhere to some sort of moral principles and that these should be better principles than ‘he should be killed because he didn’t cry at his mum’s funeral’. Camus is seeking to say that all of our ‘moral principles’ in the end come to be as meaningless as that – we judge on the basis of what we see from the framework of our own limited experience. And look, yes, there is much to this – but this ends up being too easy.The thing I like most about Existentialism, though it isn’t really as evident in this book as it is in the actual philosophy – although this is something that Meursault is supposed to have grown to understand (sorry, just one more sub-clause) even though this wasn’t something I noticed at all while reading the book, was the notion of responsibility. I didn’t think in the end Meursault was all that much more ‘responsible’ for his actions than he had been at the start. But I do think that ‘responsibility’ is a key concept in morality and one that seems increasingly to be ignored.Better by far that we feel responsible for too much in our lives than too little – better by far that we take responsibility for the actions of our governments (say) than to call these governments ‘them’. I’m not advocating believing in The Secret - but that if one must err, better to err on the side of believing you have too much responsibility for how your life has turned out, rather than too little.So, what can I say? I enjoyed this much more than I expected – but I’m still glad I waited before reading it, I really don’t think I would have gotten nearly as much out of it at 15 as I did now.

How to make use of Philosophy:“With regard to the philosophy for which you reproach me it teaches me how to suffer the indignities of Anitus and your reproaches. To love you despite your temper.”How to get rid of Philosophy:“Socrates is right. But he's wrong to be right so publicly.Where, after all, is the evil in poisoning a philosopher, especially when he's old and ugly?Anyway, it's late, we're wasting his time! To death, to death and no more discussion about it.”How to be resigned to Philosophy:SOCRATES: “I’ve been prepared for death for a long while. All that worries me now is that my wife, Xantippe may come trouble my last moments and interrupt the sweet composure of my soul: I mustn't be occupied except with the Supreme Being before whom I must soon appear. But here she is: I've got to be resigned to everything.”

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The murderous Bride is back and she is still continuing her vengeance quest against her ex-boss, Bill, and taking aim at Bill's younger brother Budd and Elle Driver, the only survivors from the squad of assassins who betrayed her four years earlier. It's all leading up to the ultimate confrontation with Bill, the Bride's former master and the man who ordered her execution!

Eager to start afresh, the young doctor, Louis Creed, and his family--his wife, Rachel, their daughter, Ellie, and their three-year-old toddler, Gage--move to their new home in the small rural town of Ludlow, Maine, alarmingly close to a busy highway. However, after the inadvertent death of Rachel's cherished tomcat in an awful accident, reluctantly, a desperate Louis will take his friendly neighbour's advice to bury it in an ancient Micmac graveyard: a mystical burial ground imbued with alleged reanimating powers. Now, despite the terrible results and the insistent warnings from a recently deceased, tragedy-stricken Louis has no other choice but to go back to the Indian cemetery, in high hopes that, this time, things will be different. Nevertheless, can the dead truly return from the grave?

Sam Wheat is a banker, Molly Jensen is an artist, and the two are madly in love. However, when Sam is murdered by friend and corrupt business partner Carl Bruner over a shady business deal, he is left to roam the Earth as a powerless spirit. When he learns of Carl's betrayal, Sam must seek the help of psychic Oda Mae Brown to set things right and protect Molly from Carl and his goons.

Robert and Katherine Thorn seem to have it all. They are happily married and he is the US Ambassador to Great Britain, but they want nothing more than to have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggests that they take a healthy newborn whose mother has just died in childbirth. Without telling his wife he agrees. After relocating to London, strange events - and the ominous warnings of a priest - lead him to believe that the child he took from that Italian hospital is evil incarnate.

Taylor and two other astronauts come out of deep hibernation to find that their ship has crashed. Escaping with little more than clothes they find that they have landed on a planet where men are pre-lingual and uncivilized while apes have learned speech and technology. Taylor is captured and taken to the city of the apes after damaging his throat so that he is silent and cannot communicate with the apes.

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En route to visit their grandfather's grave (which has apparently been ritualistically desecrated), five teenagers drive past a slaughterhouse, pick up (and quickly drop) a sinister hitch-hiker, eat some delicious home-cured meat at a roadside gas station, before ending up at the old family home... where they're plunged into a never-ending nightmare as they meet a family of cannibals who more than make up in power tools what they lack in social skills...

Scottish singer, songwriter and guitarist

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Space Ghost in his 40s is no longer a superhero, and now he even goes by his real name Tad Ghostal. However, to remain in the spot-light he has started his own late-night talk show filmed in outer space. With his cohost and former villain Zorak, and his director Moltar they interview celebrities on Earth through their video-phone.

The warped misadventures of a former boy adventurer turned washed-up, middle-aged mad scientist Dr. Rusty Venture; his moronic teenage sons; their maniac bodyguard; and the Doctor's arch-nemeses, incompetent super villain The Monarch and his masculine sounding paramour, Dr. Girlfriend.

Follows the adventures of the Cuylers, an impoverished and dysfunctional family of anthropomorphic, air-breathing, redneck squids who live in a rural Appalachian community in the state of Georgia.

A divorced father, he has custody of his 23-year-old slacker son Ben, who dreams of wealth and freedom but is too lazy to find a real job. Dr. Katz's receptionist is the acerbic Laura. He spends his free time in the bar "Jacky's 33" with his friends Stan and Julie, the bartender.

"The Brak Show is a story of a neighborhood. It's the story of a family. It's the story of what happens when adults have children and those children go to school. And Brak is in it. He lives in a house. A house on a quiet street not unlike yours or mine. A house in a neighborhood. That's The Brak Show." So goes Cartoon network's description of the new sitcom starring Brak, the absent-minded space pirate from the Space Ghost cartoons. He goes through the all the typical sitcom situations with his friend Zorak. Also along for the ride are Brak's parents, his brother Sisto, and his next-door neighbor Thundercleese.

Harvey Birdman, the superhero formerly known as Birdman, is now a practicing (and dimwitted) lawyer. His cases always involve legal disputes between cartoon characters. Past cases involve custody of Jonny Quest, a copyright infringement case between the Chan Clan and Jabberjaw, and Fred Flintstone's possible mob connections.

Explores the emotional struggles and sexual politics of a group of doctors charged with healthy libidos. Their dedication to their personal lives is relentless, interrupted only by the occasional need to treat sick children.

TV series about the life of Brendon Small, an eight-year-old visionary who, using his friends Jason and Melissa as actors, have managed to direct over a thousand homemade films. His parents are divorced, but it doesn't feel strange since so many other kids' parents are divorced. His friend Jason actually feels upset because his parents are still together. At school, he is taught soccer by his coach John McGirk, or as he calls him, "that weird Irish guy".

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Bob's Burgers centers on the Belcher family (Bob, Linda, Tina, Gene, and Louise) who own a hamburger restaurant. Bob's burgers are really delicious and appear to be better than his rivals' but his kids aren't really helpful at selling them, as more customers head over to Jimmy Pesto's restaurant.

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