Revolution is in the air. A young woman rises against the Supreme Federation to avenge her sister's murder. Her swelling resistance is beset by the Federation's unstoppable death squad, who utterly crush all opposition. They are known as the Angels. This is their story.
During the U.S. Civil War, a combination of innovative technologies and catastrophic events stimulated the development of news media into a central cultural force. Reacting to the dramatic increases in news reportage and circulation, poets responded to an urgent need to make their work immediately relevant to current events. As poetry's compressed forms traveled more quickly and easily than stories, novels, or essays through ephemeral print media, it moved alongside and engaged with news reports, often taking on the task of imagining the mental states of readers on receiving accounts from the war front. Newspaper and magazine poetry had long editorialized on political happenings—Indian wars, slavery and abolition, prison reform, women's rights—but the unprecedented scope of what has been called the first modern war, and the centrality of the issues involved for national futures, generated a powerful sense of single-mindedness among readers and writers that altered the terms of poetic expression. In Battle Lines, Eliza Richards charts the transformation of Civil War poetry, arguing that it was fueled by a symbiotic relationship between the development of mass media networks and modern warfare. Focusing primarily on the North, Richards explores how poets working in this new environment mediated events via received literary traditions. Collectively and with a remarkable consistency, poems pulled out key features of events and drew on common tropes and practices to mythologize, commemorate, and ponder the consequences of distant battles. The lines of communication reached outward through newspapers and magazines to writers such as Dickinson, Whitman, and Melville, who drew their inspiration from their peers' poetic practices and reconfigured them in ways that bear the traces of their engagements.
This book is about the intifada, the popular Palestinian uprising in the Israeli-occupied territories, broadcasted by television to an audience of millions. It explores what happens in a democracy when a government faces a major political crisis with potentially damaging international implications.
The casualties of war aren't only on the battlefield... Coming back from war is never easy, as Sergeant Dave Henley’s platoon discovers all too quickly when they return from Afghanistan. Home can be an equally searing battlefield. When they are summoned back to Helmand to protect the US team destroying the opium crop, it is almost a relief to the soldiers, if not to their wives, girlfriends and families who are turned inside out once more by their men’s sudden departure. And now danger lurks around every corner – for Dave’s team who must learn new skills to survive, and their loved ones in England, whose lives be ripped apart by equally deadly weapons – blind prejudice, acid jealousy, ugly rumour...
For as long as Australians have been serving in wars, the victories and losses, battles and faces have been recorded by artists. What is it like to be an artist in war? How does the experience of war change artists and how, in turn, has their work changed Australians' view of themselves, their country and their involvement in conflict? Award-winning journalist Scott Bevan put these questions to Australian artists who have recorded, been affected by and responded to theatres of war, including Sir William Dargie, Nora Heysen, Ray Parkin, Bruce Fletcher, Rick Amor, Ray Beattie, Wendy Sharpe and Peter Churcher. Their stories are fascinating, painting a vivid picture of the artists' experience of depicting conflict: the hope and tragedy, inspiration and frustration, humanity and beauty that can be found amid the death and destruction of war. Staining the paper with their own sweat, and drawing with whatever materials they had to hand in hostile and dangerous environments, the artists risked their lives to create their art. They were compelled to record what they were seeing, from Alan Moore's bleak sketches of the horror of the Bergen-Belsen concentration camp, to Ray Parkin's drawings of the tropical beauty that lay just beyond the barbed wire of the Japanese prisoner-of-war camp he was interned in, to Rick Amor's imposing and thought-provoking oil paintings of the destruction in East Timor in 1999. These artists have shaped how we see war, immortalising soldiers and battles. From World War II to Vietnam and the war against terrorism, the war artist has opened our eyes and perceptions to historic events that might otherwise have been censored, distorted or forgotten. In the process they have created some extraordinary art - beautiful, harrowing, mesmerising and character defining.
In more than 275 explosive illustrations "INX Battle Lines" etches a searing picture history of the last three decades in U.S. and world affairs. These are the very best drawings by 55 renowned illustrators from the files of the INX GroupNimages that have been syndicated to top journals of opinion since 1980. Full of caricature, wit and brilliant technique these drawings cross party lines to amuse, provoke, and enlighten.
The hidden battle between good and evil approaches a boiling point. Each side accuses the other of violating rules set down by the Creator at the dawn of time. The theft of The Ruby Crucifix from Vatican City enrages the forces of light, while the unauthorized birth of Armageddon's Son spurs the forces of darkness to take desperate, hostile action. As both sides prepare for war, a third party, the rogue arch demon Molec, escalates hostilities by issuing a forbidden soul bounty on light's new prophet, who happens to be the son of the Hybrid, former CIA Agent Erik Knight. The Hybrid and his trusted ally, Martin Denton, must confront demons, angels, aliens, corrupt politicians and evasive clergymen each with their own agenda and hidden motives as they hunt down Molec in a desperate, final attempt to avoid a catastrophic, world-ending battle which would have repercussions across the galaxy and the multiverse.