By John J. Miller

Compliment for the George R.R. Martin's Wild playing cards sequence: "Well written and suspenseful and an outstanding read."-Aboriginal technology Fiction "Commendable writing...a zany premise...narrated with rueful humor and intelligence."-Publishers Weekly "A improved sequence that includes superheroes...a delightfully innovative speculation." -Toronto celebrity John Fortune-son of Peregine and Fortunato, of the main strong and renowned Aces the realm has ever known-has ultimately grew to become his card. He's an Ace! And happy with it... other than that his new powers placed him on a collision direction with enemies he by no means knew he had. Is he the hot messiah? Or the Anti-Christ? Or is he only a child who's in over his head and approximately to drown? It's relatively very simple. Mr. not anyone desires to do his task. The middle of the night Angel desires to serve her Lord. Billy Ray, demise from boredom, wishes a few motion. John Nighthawk desires to discover the bleak mystery at the back of his mysterious strength. Fortunato desires to rescue his son from the clutches of a cryptic Vatican workplace. John Fortune simply desires to trap Siegfried and Ralph's well-known Vegas evaluate. the matter is that every one roads, whether or not they begin in Turin, Italy, Las Vegas, Hokkaido, Japan, Jokertown, Snake Hill, the quick lower, or Yazoo urban, Mississippi, bring about Leo Barnett's peaceful state the place the variation among the Apocalypse and Peace in the world is as skinny as a razor's part and the place loss of life himself awaits the ultimate poor flip of the cardboard. Splitting his lifestyles among the Empire country and The Land of attraction, John J. Miller at present is living in Albuquerque, N.M., along with his spouse Gail, 5 cats, canine, goldfish, and too many books to count number, nearly ten of which he's written. He's considering getting extra goldfish, and, most likely, books.

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Extra resources for Death Draws Five (Wild Cards, Book 17)

Sample text

It is only the reader’s limiting expectation that this book is for a child audience alone, and hence should be void of sexual content, that privileges the more respectable interpretation. 40 Stuckness in the Fiction of Mervyn Peake On the next page, according to the verbal text, the Captain decides to return to the pink island: “The Yellow Creature must have understood for he got very excited” (CS, 36). Again the picture subverts the words, this time towards masturbation as well as exhibitionism, and the reader is implicated as voyeur.

Along with oral and anal implications, the whale picture hints at sexual pleasures and anxieties to do with the penis. The whale’s tail, missing its tip, is not represented as bloodily mutilated but as phallic, with a slightly wrinkled gigantic foreskin revealing the smooth glans (much like the Captain’s “leg” in the illustration discussed previously). From the smile on the whale’s face and its bright eye, it can be read as a cheerful masochist, unperturbed by all the foreshadowings of its destiny as dinner.

48 In this book I always formulate “symbolic” as “symbolic order” when a Lacanian or Kristevan meaning applies. Otherwise, “symbolic”, “symbol” and “symbolise” are used in a more Jungian sense, one that does not neutralise the signifier and sets no limits on its significations: The more archaic and “deeper”, that is the more physiological, the symbol is, the more collective or universal, the more “material” it is. The more abstract, differentiated, and specific it is, and the more its nature approximates to conscious uniqueness and individuality, the more it sloughs off its universal character.

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