"A Best Book of 2017" —NPR, Buzzfeed, Paste Magazine, Esquire, Chicago Tribune, Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily *American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads' *Midwest Indie Bestseller In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times. "Funny, painful, precise, desperate, and loving throughout. Not a day has sounded the same since I read him." —Greil Marcus, Village Voice

Five teenagers, Dana, William, Ben, Megan and Julia are travelling on the London Underground to see the London Eye. A strange man gets onto the train and puts a stone into one of their pockets. Four of the teenagers leave the train in an attempt to return it but find themselves in a real but abandoned Underground station. It is also the world of Aldwych. Here they meet the rats and find themselves caught up in a war between two evil forces. The fifth teenager, now separated from the others, tries to find them only to discover that she, too, is in dangerous Aldwych. The teenagers squabble but the dangers and horrors they face can only be overcome by working together in order to make the terrifying journey out of Aldwych.

The Looney’s Grotto is an action/adventure with a gothic horror twist. This is a decadent and depraved tale whereby the victim becomes the predator. He invents an estranged underworld for his animals and ally. When the victim becomes the predator he literally enslaves his adversaries, refers to them as animals, and treats them as such. They in return referred to him as the looney, but never in his presence. The looney acquires an ally that was so mistreated by two of the animals that she became slightly deranged. She seeks payback by assiting the looney in reprimanding the animals in various unique forms of chastening and discipline. Most of which were considered appropriate in years past, but would be frowned upon in our so-called civilized world. The obstacles he has to overcome are many, as well as heroic in nature. Self-sacrifice and determination play a large part in his journey toward his goal.

A celebration of the everyday lives of Minnesotans through the centuries–those who paused here on their way to someplace else and those who made the state their home.

Indrajal Comics began publishing self-titled monthly issues in March 1964. Each of the first 10 issues had 16 pages of Phantom comics. The stories had to be edited to fit this short format. The remaining 12 pages were dedicated to other content, similar to Gold Key's style. In the next 19 issues it became 20-24 pages. As the series continued, different characters would share the spotlight. Characters such as Flash Gordon, Mandrake the Magician, Bahadur, Kerry Drake, Rip Kirby, Garth, Mike Nomad and Buz Sawyer appeared - as well as Disney characters Robin Hood and Mickey Mouse along with Goofy, but the majority of the series spotlighted The Phantom. So much so that the series is often erroneously referred to as "The Phantom" instead of the correct "Indrajal Comics". In due course the publication became fortnightly and then weekly by 1981. The numbering of books which was simply sequential in the beginning then changed to have the typical volume and a number. Indrajal Comics #444 was labeled as Vol.20 and No.1. The front cover design changed with distinct banner containing the title "Indrajal Comics" with a small circle showing the face of the main charracter. A total of 803 Indrajal Comics were published, excluding #123 and #124 which were not printed due to industrial strike action. More than half of these issues contained Phantom stories. The publishing stopped in 1990. The cover artwork for the first 50 or so issues of Indrajal Comics was done by B.Govind, with the back cover featuring a pin-up poster. His artwork became very popular and even said to have matched the artwork on the covers of international phantom publications such as Gold key or Frew. To avoid confusion among Indian readers, there were some minor changes done to the name of the Phantom's location and some characters in stories published in Indrajal Comics. The term " Bengali" or "Bengalla" or "Bengal" was changed to "Denkali" and in some issues "Dangalla" as well. This was since there is a state called "Bengal" in India and this may lead the readers to wonder about the "Pygmy" people that don't exist in Bengal. The name of the "Singh Brotherhood" was changed to "Singa Brotherhood" and the killer of the father of the current (21st) Phantom was changed from "Rama" to "Ramalu" although the latter too is one of the common names in India. Apart from English, Indrajal Comics published the stories in at least a dozen other Indian languages including Hindi, Bengali, Tamil and Kannada. Contents: Issue #60 The Phantom And The Cold Fire Worshippers Issue #59 The Phantom And The Sleeping Giant Issue #58 The Sixth Man Issue #57 The Terror Tiger Issue #56 The Phantom And Delilah Issue #55 The Villain's Challenge December 1, 1967 Issue #54 The Great Riddle Issue #53 Thugs In The City Park Issue #52 The White Goddess Issue #51 The Phantom And The River Pirates Issue #50 Mandrake And The Black Wizard Issue #49 The Secrets Of The Phantom Issue #48 The Magic Mountain Issue #47 The Adventures Of The Girl Phantom Issue #46 Mandrake And The Doomsday Issue #45 The Phantom And The Deadly Web

Public Health and the US Military is a cultural history of the US Army Medical Department focusing on its accomplishments and organization coincident with the creation of modern public health in the Progressive Era. A period of tremendous social change, this time bore witness to the creation of an ideology of public health that influences public policy even today. The US Army Medical Department exerted tremendous influence on the methods adopted by the nation’s leading civilian public health figures and agencies at the turn of the twentieth century. Public Health and the US Military also examines the challenges faced by military physicians struggling to win recognition and legitimacy as expert peers by other Army officers and within the civilian sphere. Following the experience of typhoid fever outbreaks in the volunteer camps during the Spanish-American War, and the success of uniformed researchers and sanitarians in confronting yellow fever and hookworm disease in Cuba and Puerto Rico, the Medical Department’s influence and reputation grew in the decades before the First World War. Under the direction of sanitary-minded medical officers, the Army Medical Department instituted critical public health reforms at home and abroad, and developed a model of sanitary tactics for wartime mobilization that would face its most critical test in 1917. The first large conceptual overview of the role of the US Army Medical Department in American society during the nineteenth and early twentieth centuries, this book details the culture and quest for legitimacy of an institution dedicated to promoting public health and scientific medicine.