Seven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature's status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

The Dornier Do 335A did not meet all the Luftwaffe requirements. First, the cockpit armor was too weak, which excluded the machine from the role of a fighter intercepting heavily defended Allied bombers. Therefore, in the summer of 1944, a modified version of the Do 335 - marked with the letter “B�- was developed. The main difference was to be an armored pilot’s cockpit with a new, easier to manufacture windscreen. The front wheel had larger tire. To be able to retract it without any changes in the landing gear bay construction, it was rotated around the leg axis by 45° during the retraction. The rest of the equipment and weapons were to be the same as in the case of the Do 335A-1. The developed version was designated Do 335B-1, but it was quickly abandoned in favor of heavily armed versions B-2 and B-3, known as Zerstörer. The prototypes of the version B-2 were Do 335M-13 and M-14 powered, like the A-1, by the DB 603E (front) and DB-603QE (rear) engines, but with significantly reinforced armament. The 15 mm MG 151/15 cannons above the engine were replaced with a 20 mm MG 151/20, and the wings were fitted with two 30 mm MK 103 cannons with 70 rounds per barrel. The same cannon fired through the propeller axis.

Aleksander Siewierski, originally from Georgia, was in the United States in 1917 and was there when the revolution in Russia broke out. As Alexander Seversky, he founded the Seversky Aero Corporation. Alexander Kartvelli (also a Georgian) became his main designer. Unfortunately, financial problems led to firing Seversky, and his company changed its name to Republic Aviation Corporation. The projects started and developed by Seversky, which resulted in the P-35 fighter, were continued, though. As a result of its further development, a design for the XP-41 high-altitude fighter equipped with a turbocharger was prepared. Only a prototype was built, while many of its solutions went to a more advanced aircraft, designated AP-4, and finally P-43.

Gloster Gladiator is a British fighter constructed at the Gloster Aircraft Company. The prototype was created in 1934. It was powered by a 645 HP Bristol Mercury VIS engine. Gloster Gladiator Mk I had a 8382 mm long fuselage, which consisted of four numbered sections. The first of these included the engine bed. The second front fuselage, the third – the rear fuselage, and the fourth – tail. The arrangement of instrumentation and equipment inside the truss was marked with letters or numbered from one to eight fuselage partitions corresponding to the distances between the frames. Clearly straight main panels with a span of 9845 mm were built around two Hawker steel girders. The upper and lower supports of the girders were made of rolled octagonal elements, and the wavy lining provided strong points for attaching four aerodynamically profiled transverse struts. Such wing structure was finished with light alloy ribs, stringers and steel and duralumin spreader bars.

Highlights the persuasive devices most common to fascist appeals Fascism has resurfaced as one of the most pressing problems of our time. The rise of extremist parties and candidates in Europe, the United States, and around the globe has led even mainstream political commentators to begin using the term “fascism� to describe dangerous movements that have revived and repackaged many of the strategies long thought to have been relegated to the margins of political rhetoric. No longer just confined to the state regimes of the past, fascism thrives today as a globally self-augmenting, self-propagating rhetorical phenomenon with a variety of faces and expressions. The Rhetoric of Fascism defines and interprets the common persuasive devices that characterize fascist discourse to understand the nature of its enduring appeal. By approaching fascism from a rhetorical perspective, this volume complements established political and sociological understandings of fascism as a movement or regime. A rhetorical approach studies fascism less as a party one joins than as a set of persuasive strategies one adopts. Fascism spreads precisely because it is not a coherent entity. Instead, it exists as a loosely bound and often contradictory collection of persuasive trajectories that have attained enough coherence to mobilize and channel the passions of a self-constituted mass of individuals. Introductory chapters focus on general theories of fascism drawn from twentieth-century history and theory. Contributors investigate specific historical figures and their relationship to contemporary rhetorics, focusing on a specific rhetorical device that is characteristic of fascist rhetoric. A common thread throughout every chapter is that fascist devices are appealing because they speak to us in the familiar language of our culture. As we are seduced by one device at a time, we soon find ourselves part of a movement, a group, or a campaign that makes us act in ways we might never have imagined. This volume reveals that fascism may be closer to home than we think. CONTRIBUTORS Patrick D. Anderson / Rya Butterfield / Nathan Crick / Elizabeth R. Earle / Zac Gershberg / Stephen J. Hartnett / Marie-Odile N. Hobeika / Sean Illing / Jacob A. Miller / Fernando Ismael QuiÑones Valdivia / Patricia Roberts-Miller / Raquel M. Robvais / Bradley A. Serber / Ryan Skinnell

Documentary-style horror written and directed by Chris Sparling. A team of psychologists are investigating supposed supernatural abilities in humans when they come across Judith Winstead (Rya Kihlstedt), a young woman with abilities far surpassing any of their other subjects. As Judith's abilities continue to grow and she becomes more and more difficult to control, the US Department of Defense, who have learned of the destructive nature of her powers, become interested in her case...

This book examines the German air force (GAF) monograph project, also known as the Karlsruhe project, through which the US Air Force employed former Luftwaffe generals to record the history of World War II from the German perspective. Historians have explored parallel programs in the US Army and Navy, but the Karlsruhe project has received little attention. However, the Air Force monographs have proven useful to historians because of their high quality. This book attributes the Karlsruhe monographs' strength as works of history primarily to the Air Force's limited interest in them, which insulated the writers from outside pressure to produce studies of immediate utility to the military. Whereas policy needs drove the Army and Navy programs and often caused them to search for convenient tactical "lessons" in German history, the GAF monograph project was effectively autonomous. This was a mixed blessing. Chronically undermanned and inadequately funded, the project ended with most studies still unfinished. The Air Force ignored the monographs and failed to benefit from the experience of the Luftwaffe. This book illustrates the inherent tensions in writing official military history and utilizes the Karlsruhe project as a lens to examine problems plaguing the Air Force during the early Cold War. Still, cooperative historical work proved to be an inexpensive and unexpected way of cementing the critical West German-American military alliance, and both air forces came to value this aspect of the project more than the historical studies it produced.