The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel's transformative and timeless influence on an entire genre of fantasy.

It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.

Drawing upon multiple comic book series, this collection includes Captain America's very first appearances from 1941 alongside key examples of his first solo stories of the 1960s, in which Steve Rogers, the newly resurrected hero of World War II, searches to find his place in a new and unfamiliar world. As the contents reveal, the transformations of this American icon thus mark parallel transformations in the nation itself.

A foreword by Gene Luen Yang and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of Captain America and classic Marvel comics.

The Penguin Classics black spine paperback features full-colour art throughout.

The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel's transformative and timeless influence on an entire genre of fantasy.

It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.

This anthology contains twelve key stories from the first two years of Spider-Man's publication history (from 1962 to 1964). These influential adventures not only transformed the super hero fantasy into an allegory for the pain of adolescence but also brought a new ethical complexity to the genre-by insisting that with great power there must also come great responsibility.

A foreword by Jason Reynolds and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of The Amazing Spider-Man and classic Marvel comics.

The Penguin Classics black spine paperback features full-colour art throughout.

The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel's transformative and timeless influence on an entire genre of fantasy.

It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.

This anthology contains twelve key stories from the first two years of Spider-Man's publication history (from 1962 to 1964). These influential adventures not only transformed the super hero fantasy into an allegory for the pain of adolescence but also brought a new ethical complexity to the genre-by insisting that with great power there must also come great responsibility.

A foreword by Jason Reynolds and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of The Amazing Spider-Man and classic Marvel comics.

The Deluxe Hardcover edition features gold foil stamping, gold top stain edges, special endpapers with artwork spotlighting series villains, and full-colour art throughout.

The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel's transformative and timeless influence on an entire genre of fantasy.

It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.

Drawing upon multiple comic book series, this collection includes Captain America's very first appearances from 1941 alongside key examples of his first solo stories of the 1960s, in which Steve Rogers, the newly resurrected hero of World War II, searches to find his place in a new and unfamiliar world. As the contents reveal, the transformations of this American icon thus mark parallel transformations in the nation itself.

A foreword by Gene Luen Yang and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of Captain America and classic Marvel comics.

The Deluxe Hardcover edition features gold foil stamping, gold top stain edges, special endpapers with artwork spotlighting series villains, and full-colour art throughout.

'A stellar cast of writers and thinkers' Nathan Filer An explorer spends a decade preparing for an expedition to the South Pole; what happens when you live for a goal, but once it's been accomplished, you discover it's not enough? A successful broadcast journalist ends up broke, drunk and sleeping rough; what makes alcohol so hard to resist despite its ruinous consequences? A teenage girl tries to disappear by starving herself; what is this force that compels so many women to reduce their size so drastically? In this essay collection, writers share the struggles that have shaped their lives - loss, depression, addiction, anxiety, trauma, identity and others. But as they take you on a journey to the darkest recesses of their mind, the authors grapple with challenges that haunt us all.

The archaeological excavations along the route of packages 3 and 4 of the Batinah Expressway, Sultanate of Oman, conducted during the spring and summer of 2014, recorded over 60 archaeological sites over the 200km stretch of roadway cutting through the Batinah plain, north-west of Muscat. The majority of these sites were prehistoric tombs of varying ages. These excavations have allowed a re-thinking of the dating of some of these tombs, looking particularly at the structural styles of the tombs as well as their location in the landscape. It has also demonstrated techniques of rapid yet reliable excavation and recording techniques adapted from UK commercial archaeology for the Omani conditions. The report builds on the work of academic studies and adds a large dataset to the archaeology of the Batinah, Oman and the wider region. It is hoped that this will allow a wider scale reconsideration of the burial styles of the prehistoric Gulf.

This title is a consideration of the modern Superhero comic as an expression of spiritual desire, showing what Superheroes can teach about our most essential human needs. Ben Saunders shows that Superhero comics address deep emotional needs. From their earliest days, Superheroes have engaged with some of the most profound spiritual questions that a human being can face: What does it mean to be good? Why is there evil? Why can't I have what I want? How should I live, knowing that I must die? The book suggests these fantasies of power and romance are attempts to wrestle and negotiate with some fundamentally spiritual issues: the problem of evil, the inescapability of human imperfection, and the stark fact of mortality. Saunders argues that the best Superhero comics are not only significant aesthetic achievements - expressions of a misunderstood and under-appreciated art-form as distinctly American as Jazz or Rock & Roll - but that their aesthetic significance derives at least in part from their unique handling of these religious and spiritual themes. With chapters on Superman, Wonder Woman, Spider-Man, and Iron-Man, he considers these characters as artistic projections of our most primitive desires, and our highest aspirations. This series aims to showcase new work at the forefront of religion and literature through short studies written by leading and rising scholars in the field. Books will pursue a variety of theoretical approaches as they engage with writing from different religious and literary traditions. Collectively, the series will offer a timely critical intervention to the interdisciplinary crossover between religion and literature, speaking to wider contemporary interests and mapping out new directions for the field in the early twenty-first century.

Throughout his life, John Donne was well acquainted with the consequences of desire. He wanted a courtly career badly enough to renounce the Catholicism of his childhood. Later, he wanted a woman badly enough to gamble that career for her sake; he lost, but found a new calling in the Anglican Church. There he pursued philosophical and theological questions with an intensity to match his former social ambitions, and was not above addressing God Himself in tones of "immoderate desire." Death became his ultimate object of passionate attention; and ever since that final consummation, critics have argued over the nature and import of Donne's desires, while simultaneously (if not always self-consciously) revealing a great deal about their own.

Saunders explores this dialectic of desire, re-evaluating both Donne's poetry and the complex responses it has inspired, from his earliest readers to his recent professional critics. In the process, Saunders considers an extraordinary range of topics, including the technology of the book, prosodic theory, the problem of misogyny, the history of sexuality, and even the purpose of criticism itself; remarkably, he does so while keeping Donne's poetry in focus at all times.

Witty, erudite, theoretically engaged, but intensely readable, this study takes into account recent developments in the fields of historicism, feminism, queer theory, and postmodern psychoanalysis, while offering dazzling close readings of many of Donne's most famous poems.

This collection brings new voices and new perspectives to the study of popular--and particularly rock--music. Focusing on a variety of artists and music forms, "Rock Over the Edge" asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as "lo fi," alternative country, and "rock en espanol," while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain.
Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors' introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom.
"Rock Over the Edge" will appeal to scholars and students in popular music studies and American Studies as well as general readers interested in popular music.

"Contributors." Ian Balfour, Roger Beebe, Michael Coyle, Robert Fink, Denise Fulbrook, Tony Grajeda, Lawrence Grossberg, Trent Hill, Josh Kun, Jason Middleton, Lisa Ann Parks, Ben Saunders, John J. Sheinbaum, Gayle Wald, Warren Zanes