A Tarot for Pagans and Non-Pagans Alike

The Robin Wood Tarot has rapidly become one of the most popular Tarot decks in the world. Its beautiful art, vibrant imagery and luminous energies, enchants everyone.

The 22 Major Arcana cards are filled with life that was previously unseen in the Tarot. It is also filled with the energy of nature, taking the images outside of rooms and into the beautiful abodes of the gods. For example, The High Priestess is an ageless woman wearing a lunar headband. Behind her are trees and a darkened sky lit only by the moon.

The shining strength of this deck lies in the fifty-six cards of the Minor Arcana. The characters on the cards almost seem to breathe. Often, the cards seem so dimensional you get the feeling you could jump into them. Watch the boy carve pentagrams on wooden disks in the eight of Pentacles. Gleefully help steal blades in the five of Swords. Join in the merry dance on the four of Wands.

The 56-page booklet explains everything to give a Tarot reading, including the upright and reversed meaning for each card and 3 different layouts. Each of the pip cards is given a word or short phrase to help you identify the meaning of the card with virtually no effort.

Pagans will love the influence of nature on this deck. Beginners will find it makes learning the Tarot fun and easy. Experienced Tarot readers will love the radiantly colorful, symbolic, and infinitely captivating deck. Get your copy right away.

When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's own development as a critic. This new revised edition of "Hitchcock's Films Revisited" includes a substantial new preface in which Wood reveals his personal history as a film scholar - including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life have remained deeply intertwined through the years. This revised edition includes all original eighteen essays and a new chapter on Marnie titled "Does Mark Cure Marnie? Or, 'You Freud, Me Hitchcock.'"

This classic of film criticism, long considered invaluable for its eloquent study of a problematic period in film history, is now substantially updated and revised by the author to include chapters beyond the Reagan era and into the twenty-first century. For the new edition, Robin Wood has written a substantial new preface that explores the interesting double context within which the book can be read-that in which it was written and that in which we find ourselves today. Among the other additions to this new edition are a celebration of modern "screwball" comedies like "My Best Friend's Wedding," and an analysis of '90s American and Canadian teen movies in the vein of "American Pie," "Can't Hardly Wait," and "Rollercoaster." Also included are a chapter on Hollywood today that looks at David Fincher and Jim Jarmusch (among others) and an illuminating essay on "Day of the Dead."

One of the most distinctive voices in film criticism explores relationships between narrative style and sexual politics. Robin Wood, well known for his books "Hollywood from Vietnam to Reagan" and "Hitchcock's Films Revisited, " probes the political and sexual ramifications of fascism and cinema, marriage and the couple, romantic love, and representations of women, race, and gender in contemporary films from the United States, Europe, and Japan. He looks closely at the works of Leo McCarey and Jacques Rivette, Ozu's "Noriko Trilogy," and the recent Generation X films "Before Sunrise" and "The Doom Generation." In a chapter on fascism and cinema that juxtaposes Leni Riefenstahl's "Triumph of the Will" and Alain Resnais's "Night and Fog, " Wood finds that what is most important is not these films' record of another time and place but "the light they can throw on our contemporary cultural situation." Wood's central concern in these chapters is the ways in which the films relate to sexual politics and the organization within our culture of gender and sexuality. Seeing humanity as a "battleground" of a struggle between forces for Life and those of Death, Wood holds out hope for a joining of the forces of feminism, antiracism, lesbian and gay rights, and environmentalism necessary for authentic movement toward liberation.

Robin Wood's writing on the horror film, published over five decades, collected in one volume. Robin Wood-one of the foremost critics of cinema-has laid the groundwork for anyone writing about the horror film in the last half-century. Wood's interest in horror spanned his entire career and was a form of popular cinema to which he devoted unwavering attention. Robin Wood on the Horror Film: Collected Essays and Reviews compiles over fifty years of his groundbreaking critiques. In September 1979, Wood and Richard Lippe programmed an extensive series of horror films for the Toronto International Film Festival and edited a companion piece: The American Nightmare: Essays on the Horror Film - the first serious collection of critical writing on the horror genre. Robin Wood onthe Horror Film now contains all of Wood's writings from The American Nightmare and nearly everything else he wrote over the years on horror-published in a range of journals and magazines-gathered together for the first time. It begins with the first essay Wood ever published, ""Psychoanalysis of Psycho,"" which appeared in1960 and already anticipated many of the ideas explored later in his touchstone book, Hitchcock's Films. The volume ends, fittingly, with, ""What Lies Beneath?"", written almost five decades later, an essay in which Wood reflects on the state of the horror film and criticism since the genre's renaissance in the 1970s. Wood's prose iseloquent, lucid, and convincing as he brings together his parallel interests in genre, authorship, and ideology. Deftly combining Marxist, Freudian, and feminist theory, Wood's prolonged attention to classic and contemporary horror films explains much about the genre's meanings and cultural functions. Robin Wood on the Horror Film will be an essential addition to the library of anyone interested in horror, science fiction, and film genre.

The Apu Trilogy is the fourth directorial monograph written by influential film critic Robin Wood and republished for a contemporary audience. Focusing on the famed trilogy from Indian director Satyajit Ray, Wood persuasively demonstrates his ability at detailed textual analysis, providing an impressively sustained reading that elucidates the complex view of life in the trilogy. Wood was one of our most insightful and committed film critics, championing films that explore the human condition. His analysis of The Apu Trilogy reveals and illuminates the films' profoundly humanistic qualities with clarity and rigor, plumbing the psychological and emotional resonances that arise from Ray's delicate balance of performance, camerawork, and visual design. Wood was the first English language critic to write substantively about Ray's films, which made the original publication of his monograph on The Apu Trilogy unprecedented as well as impressive. Of late there has been a renewed interest in North America in the work of Satyajit Ray, yet no other critic has come close to equaling the scope and depth of Wood's analysis. In his introduction, originally published in 1971, Wood says Ray's work was met with indifference. In response, he offers possible reasons why this occurred, including social and cultural differences and the films' slow pacing, which contemporary critics tended to associate with classical cinema. Wood notes Ray's admiration for Western film culture, including the Hollywood cinema and European directors, particularly Jean Renoir and his realist films. Assigning a chapter to each Pather Panchali (1955), Aparajito (1957) and The World of Apu (1959), Wood goes on to explore each film more thoroughly. One of the aspects of this book that is particularly rewarding is Wood's analytical approach to the trilogy as a whole, as well as detailed attention given to each of the three films. The book, with a new preface by Richard Lippe and foreword by Barry Keith Grant, functions as a masterclass on what constitutes an in-depth reading of a work and the use of critical tools that are relevant to such a task. Robin Wood's The Apu Trilogy offers an excellent account of evaluative criticism that will appeal to film scholars and students alike.

Arthur Penn - director of The Miracle Worker, Bonnie and Clyde, Alice's Restaurant and Little Big Man - was at the height of his career when Robin Wood's analysis of the American director was originally published in 1969. Although Wood then considered Penn's career only through Little Big Man, Arthur Penn remains the most insightful discussion of the director yet published. In this new edition, editor Barry Keith Grant presents the full text of the original monograph along with additional material, showcasing Wood's groundbreaking and engaging analysis of the director. Of all the directors that Wood profiled, Penn is the only one with whom he developed a personal relationship. In fact, Penn welcomed Wood on the set of Little Big Man (1969), where he interviewed the director during production of the film and again years later when Penn visited Wood at home. Both interviews are included in this expanded edition of Arthur Penn, as are five other pieces written over a period of sixteen years, including the extended discussion of The Chase that was the second chapter of Wood's later important book Hollywood from Vietnam to Reagan. The volume also includes a complete filmography and a foreword by Barry Keith Grant. The fourth classic monograph by Wood to be republished by Wayne State University Press, this volume will be welcomed by film scholars and readers interested in American cinematic and cultural history.

As America tries to forget the horrors of the Great War by embracing jazz, flappers, and the speakeasy, the Watchers remain vigilant by protecting the innocent and maintaining order among the Immortals-including a powerful line of Seers who are all but extinct. But the real horror is just beginning. When George Yates is ordered to escort the beautiful Rosemond Le Clair to safety, he finds himself in the middle of an ancient feud that demands her blood. Without the Watchers' help, he must struggle to protect the last remaining daughter of the Le Clair family from these dark powers, even as he defies fate itself.

"I tried to push him back, but he was too strong, like iron. Suddenly his head snapped up like he heard something; he craned his neck to listen and then he let out a hiss. He kissed next to my ear and softly whispered, "I think breaking you will be much more fun. I'll see you soon." And then he added, as if an afterthought, "Tell him hello for me." Then I felt his mouth lock onto the base of my neck and something pierce my flesh. It hurt. Despite my panic, after a few moments, my heart slowed, and everything became distorted as the blackness came for me." After breaking up with her boyfriend, seventeen-year old Aleria "Ali" Hayes finally feels liberated. Unfortunately, her ex's buddies are not making it easy on her. When his friends harass her one night, a mysterious stranger, Bowen, steps in to rescue her. But just as this new relationship seems to be taking off, Ali is attacked by something far worse than spiteful high school boys. When she awakes, her eyes are opened to a world where gods still walk the earth, where vampires and other immortals fight for supremacy- and where fate may be stronger than free will. Now, Ali must decide who she can trust, and whether the world of mortals is worth saving at all.