Triple bill of zombie films. 'Zombie Apocalypse' (2011) is a made-for-TV horror starring Ving Rhames in which a group of human survivors of a zombie outbreak set out to make it to an uninfected island. Ramona (Taryn Manning), Billy (Eddie Steeples) and Kevin (Gerald Webb) are almost killed when they head out to search for food. Fortunately for them, they meet a tough group that includes Henry (Rhames) and Cassie (Lesley-Ann Brandt), who take on the zombies with weapons as diverse as a sledgehammer and a samurai sword. 'Abraham Lincoln Vs Zombies' (2012) is a tongue-in-cheek zombie horror in which Abraham Lincoln is distracted from his composition of the Gettysburg Address by a more pressing concern - an outbreak of the undead. Lincoln (Bill Oberst Jr.) leads a team of Secret Service agents to the area to try and contain the disaster. There is a suggestion that Lincoln may have some experience of dealing with zombies from his past and he takes under his wing a youngster by the name of Teddy Roosevelt (Canon Kuipers), who may have a role of his own to play in the American story. 'The Dead' (2010) is a zombie horror set in West Africa. Robert Freeman stars as Lieutenant Brian Murphy, a military engineer who finds himself stranded in the wilderness of Burkina Faso after a zombie outbreak lays waste to civilisation. Eventually he teams up with Sergeant Daniel Dembele (Prince David Oseia), a local soldier who has gone AWOL from the army to search for his missing son.

The writing in this book is so bad, it deserves its own taxonomy of suckitude.
Gillian Flynn, Mary Roach, Dave Eggers, Rick Moody, Chuck Palahniuk, Amy Tan, A.J. Jacobs, Daniel Clowes, Jeff Greenwald, Po Bronson...the list goes on. They all sucked once, and they all have the guts to share some of their crappiest early work in "Drivel: " an uplifting bit of voyeurism, based on the sold-out "Regreturature" stage shows in San Francisco, and brought to you by Litquake and the San Francisco Writers' Grotto.
Within these pages you'll find abstruse and esoteric poetry (bad); incoherent and illogical short stories (worse); bumfuzzling proto-journalism (shameful); and pretentious, overwrought journal entries (we'll not speak of this again).
Thanks to these courageous but foolhardy writers, the world now knows the real meaning of a work-in-progress.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

It's 1938 and the world is changing quickly. Hitler is stirring the German nation into a xenophobic frenzy. Michael, a British officer in the Gurkhas serving in the North-West Frontier, is trying to keep the bloodthirsty and ruthless Afghan tribesmen, the Pathan, under control. The horrors perpetrated by the Pathan make Michael angry and vengeful. On leave in England, Michael finds that his war experiences have changed him and made him intolerant of the conventionality of British society. He begins to see his fiancee, Sarah, in a different light. On his return to India he seems to be heading for disaster...Julia Scott was born in Weymouth, Dorset. She attended Winchester School for Girls and gained a degree in French from Liverpool University. Her early working career was spent as a health journalist, and later as Editor of Director magazine for the Institute of Directors. In 1987 she married a neurologist and together they moved to Malta, and then to the United States where they lived for fifteen years before returning to England in 2005. In 2001 Julia was diagnosed with a rare form of cancer and wrote Afghan Silk while fighting the disease and looking after her six children. She died aged 49 in 2006.