Miller Hank (85 results)

paperback. Condition: Fair.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: very_good. Gently read. May have name of previous ownership, or ex-library edition. Binding tight; spine straight and smooth, with no creasing; covers clean and crisp. Minimal signs of handling or shelving. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships USPS Media Mail.…

Condition: Very Good. 1st Edition. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. …

Condition: Good. 1st Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

paperback. Condition: Very Good. Crease on cover*. Ron Miller (illustrator).

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

paperback. Condition: Good. . Satisfaction 100% guaranteed.

Condition: good. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact including the dust cover, if applicable . Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.…

Condition: acceptable. Item has water damage. Cover is worn. Paperback.

Softcover. Condition: Very Good. Originally presented to Congress on March 28, 2001, this book brings together the latest word from key conservation leaders as well as firsthand accounts by Alaska residents on how they and neighboring wildlife would be affected should oil drilling proceed according to current plans. The book includes original pieces by Jimmy Carter, Wendell Berry, Barry Lopez, Bill McKibben, Scott Russell Sanders, Rick Bass, and Terry Tempest Williams. The contributors, who range "from global leaders to nomadic hunters," attest to the ecological diversity and spiritual sanctity of the 18 million-acre wilderness, home to caribou, bears, wolves, eagles, wolverines, foxes and ravens, and the 15 villages of the Gwich'in Indians. The most piercing entries range from a brief, plainspoken "Letter to the President" by conservationist Margaret Murie (whose efforts led to the formation of the refuge in 1960) to the hope of a Gwich'in woman, Faith Gemmill, that her children will take their sustenance from the caribou and "listen to traditional teachings in their own traditional language," as she has. Wildlife biologist Bill Sherwonit lyrically describes the habits of pregnant polar bears, while Bill McKibben warns that an "oil spill may not happen in [the Refuge], but it will definitely happen in the atmosphere" when any extracted oil is burned, and Barry Lopez eloquently suggests that we must reign in the adolescent impulses that fuel our consumer economy if we are to solve the dilemmas posed by our ravenous oil consumption.…

Soft cover. Condition: As New. No Jacket. Trade Paperback. The Breaking of the Seals. Ron Miller (illustrator).

Condition: New.

Paperback. Condition: new. Paperback. "Present as Ruin" by Rosine BerlinIt feels almost as though Hank Miller, even in his third volume, is not writing but rather documenting. There is no classical storytelling, no poem that concludes, no short story aiming for a punchline. Fragments from the Void is a book that refuses to become whole. And in this refusal lies its consistency.Even the two predecessors - Timeless Spaces and I Lean on the Emptiness - were hailed as classics of writing beyond the literary world: texts without ambitions for literary careers, but with existential urgency. And now, the third volume. No conclusion, rather another break.What immediately strikes the reader is that time here is not a flow, but a stutter. "10 hours. Good morning. 12 o'clock. Food. 4 hours time." These repetitions are not mere formal games. They recall shift schedules, clinic rhythms, addiction days, prison terms - lives that no longer move forward but turn in circles. Miller does not write time as a continuum, but as the decay of the present.Death is not awaited; it has already moved in: "Good morning, death." The "I" speaking here is not a sovereign lyrical subject. It is fragmented, mirrored, permeable. Again and again, the doppelgaenger appears, the face behind the eyes, the foreign self in the own body. Life and death are not opposites; they overlap. Birth is not a beginning but a continuation of the end. "No death, but life ends with every birth."Formally, the book is radically inconsistent. Poems break off into prose, diary entries tip into nightmare sequences, fragments of dialogue stand next to visionary images. English and German interpenetrate, not out of coolness, but out of inner tornness. The language shifts where German is no longer enough - or where English too fails: "I can't see the light."Striking are the texts where the personal intertwines with the global. The Green Planet Bleeds is not an ecological poem in an activist sense. It is a lament without hope for salvation. The planet does not die spectacularly, but exhaustively. Its death is - frighteningly enough - a release. This perspective is uncomfortable but consistent: anyone who writes about dying for so long cannot moralize death.Places keep reappearing: Berlin, Melbourne, Rockhampton, anonymous rooms, pubs, hostels, train stations. These are passage spaces, non-places. No one arrives, no one stays. The people in these texts live "dead for years" and still try to live their lives. Alcohol, drugs, music, fleeting encounters - they are not acts of rebellion, but delays.Miller's closeness to spoken language is notable. Entire passages read like tape recordings from pubs, like memories that do not dare to express themselves. The famous "realistic" sound of the 90s is not nostalgic here, but hollowed out. What remains is fatigue. And sometimes, rarely, tenderness. Like in the love text to the woman, which tells of missed moments - of not saying, of not acting. No grand gestures, just the quiet knock on the door.The war sequence at the end is not a dystopian draft, but a report on the state of things. The war is here, without explanation, without ideology. It begins with a kiss and ends in beer cellars and polluted water. Communication breaks down, carrier pigeons replace the media. The great catastrophe appears casually - like everything in this book.Perhaps Fragments from the Void is not a book for readers seeking comfort. But it is a book for those who know that literature does not have to heal. That sometimes it can only witness. Be still. Endure.In the end, there is no "Amen." No "Our Father." No conclusion. Only silence. And in this volume, that silence is not a void - but a form of truth.Fragments from the Void is uncomfortable, radical, necessary. Anyone se Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Soft Cover. Condition: Good. Wraps have light edgewear. Notation on end pages and in text, highlighting. Size: 4to - over 9¾" - 12" tall.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Country Music Magazine. Very Good condition.

Hardcover. Condition: Very Good. Dust Jacket Condition: Near Fine. 1st Edition. Abrams, New York, 2006. Hardcover, 160 pp. Celebrating the history of the New York City gay parade. Profusely illustrated with photographs by Neil Miller. Photo captions are by Allen Ginsberg. Preface by William S. Burroughs. Very good condition with lower corners bumped. Dust jacket is near fine and in a new mylar sleeve. …

Condition: New.

Paperback or Softback. Condition: New. The Admiral's Son. Book.

Soft cover. Condition: Very Good. A classic Atlantis adventure blending science-fantasy, metaphysical speculation, and lost-civilization lore. The Breaking of the Seals tells the story of a modern man transported into the distant past to witness -- and struggle to survive -- the cataclysmic fall of Atlantis. Combining speculative science, mythic imagination, and metaphysical themes, the novel explores time, ancient civilizations, and cosmic catastrophe. Praised by Andre Norton and recognized within the science-fantasy tradition, this Starblaze edition features atmospheric illustrations by Ron Miller. Edition Details: 1983 Starblaze / Donning Company paperback edition. Introduction by Andre Norton. Illustrated by Ron Miller. Condition: Very Good-minus condition. Light shelf wear to covers; binding tight; pages clean and unmarked. A well-preserved and attractive copy. An appealing addition for collectors of vintage science-fantasy, Atlantis literature, and Starblaze Editions titles. Ron Miller (illustrator).…

Condition: New.

Paperback. 12mo. Condition: Near fine. 160p. Near fine with firm binding and clean interior. Spine ends and corners are lightly bumped. JDI 3001.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: new. Paperback. Hank Miller's book, I lean on the emptyness, emerges as a literary masterpiece that both disturbs and captivates the reader. In many ways, it extends the themes and visions of his debut, Timeless Spaces, but here the author decisively moves away from the fragile beauty of memory and embarks on a more radical, painful journey into the abyss of language. Where the first book was a near-meditative exploration of space and time, the second transforms into a nearly physical experience of inner decay. In these fragments-more than mere words-lies the disintegration of a self caught between life and death, between consciousness and madness."Words without a soul spill out of me," writes the narrator at the beginning of the book, and already this first sentence hints that no simple narrative is to follow. Miller opens his work with a diagnosis of his own language. It is empty, it misses its mark, it does not stay with itself. Yet, paradoxically, it is the only expression of what remains: a self that, in its final convulsions, dissects the world into fragments. The metaphors he chooses are brutal and intense: The brain is "cooked in a pot, seasoned with salt from the Dead Sea." The image of cooking might initially appear as a depiction of control-but the sharpness of the "salt from the Dead Sea" does not fail to make its point. It refers to the inescapable depth of pain, to the understanding that this preparation is neither curative nor healing.The physical experience Miller describes here is not mere metaphor. It is writing in extremis: The brain is "opened," the narrator watches the "fluid" spill from it, and tastes "heavily salted sardines and dozens of capers on his tongue." It is the unfolding of a monstrous body that surrenders itself to its own decomposition and exposure. In an almost surreal twist, the narrator lifts his own brain from his skull and places it in the pot to "slowly cook." Here, two levels merge: the language of the narrative body and the language of the book itself, which dissolves in the act of "cooking."The narrator is in search of a language to serve as a means of survival, yet this search proves futile. "Where are my words?" he asks. The meaning the text once conveyed seems to have shattered in the windy space of confusion. A key moment in the book is the recurring question about the "words of the songs," about the "flickering lights on the stage of memory." This repetition signals a problem that underlies the entire work: the existential void into which the narrator sinks at every moment. Words no longer provide comfort; they are merely a reminder of what once was. But in the void, nothing can be found-only the "noise" that obscures the silence and brings forth the realization of the futility outside.In one of the most poignant passages, the image of the void transforms into an almost poetic picture of decay and finitude. The candles flicker, the birds fall silent, the "writing reveals nothing to me." This state of disorientation, accompanied not only by physical pain but also by mental fragmentation, describes an existential crisis that goes far beyond what words can capture. Here, the word remains nothing more than an empty vessel-a symbol for the void the narrator feels deep within.With I lean on the emptyness, Hank Miller delivers a gripping, almost agonizing exploration of the fragmentation of human existence. There is no simple redemption here, only confrontation with the inner abysses. With this work, Miller takes on a timeless theme in literature: the desire to grasp the unspeakable, and the realization that language often provides only another expression of one's own emptiness.It is a book that does not leave the reader untouched, one that raises questions-about our perception of reality, the state of thinking, and the Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condition: new. Paperback. Angelehnt an die Leere ist ein Buch, das sich jeder bequemen Lektuere verweigert. Hank Miller fuehrt die Gedanken seines Debuets weiter, radikalisiert sie jedoch zu einer schmerzhaften Erfahrung von Sprachverlust und innerem Zerfall. In fragmentierten Bildern zeigt der Text ein Ich, das zwischen Bewusstsein und Wahnsinn, Leben und Aufloesung schwankt. Worte verlieren ihre troestende Funktion und werden zu leeren Gefaessen, die die existenzielle Leere nur noch spiegeln. Brutale Metaphern, Wiederholungen und Stillstand erzeugen eine beklemmende Intensitaet, in der Kommunikation zum Rauschen wird und Bedeutung zerfaellt. Dieses Buch sucht keine Antworten und bietet keine Erloesung. Seine Kraft liegt in der radikalen Ehrlichkeit, mit der es den Zustand eines Menschen im Zerfall zeigt - und in der Freiheit, die sich paradoxerweise in der Leere selbst eroeffnet.Es gibt Buecher, die man nicht liest, sondern erleidet. Buecher, die sich nicht um Verstaendnis bemuehen, sondern den Leser in einen Zustand werfen, aus dem es kein bequemes Zurueck gibt. Hank Millers zweites Werk Angelehnt an die Leere gehoert zu dieser Kategorie. Von der ersten Zeile an wird deutlich, dass dieser Text kein sicherer Ort ist, sondern ein Resonanzraum fuer Sprachverlust, innere Zersetzung und existenzielle Verzweiflung.Hank Millers zweites Buch stellt sich als ein literarisches Meisterwerk dar, das zugleich verstoert und fasziniert. In gewisser Weise fuehrt es die UEberlegungen seines Debuets Timeless Spaces weiter, entfernt sich jedoch konsequent von der fragilen Schoenheit der Erinnerung. Wo das erste Buch eine meditative Auseinandersetzung mit Raum und Zeit war, wird das zweite zu einer beinahe koerperlichen Erfahrung des inneren Zerfalls. In fragmentierten Bildern zeigt sich ein Ich, das zwischen Leben und Tod, Bewusstsein und Wahnsinn schwankt.Eine Sprache der Zersplitterung"Woerter ohne Seele dringen aus mir raus" - dieser Satz markiert den Verlust sprachlicher Stabilitaet. Die Sprache des Erzaehlers ist leer und verfehlt ihren Sinn, bleibt jedoch das einzige Ausdrucksmittel eines zerfallenden Selbst. Die Metaphern sind radikal: Das Gehirn wird "im Topf gekocht, abgeschmeckt mit Salz des Toten Meeres". Was zunaechst nach Kontrolle klingt, entlarvt sich als Bild der Unentrinnbarkeit des Schmerzes. Schreiben wird zur Selbstzerlegung, Koerper und Sprache loesen sich gemeinsam auf.Die Leere als ResonanzraumDer Erzaehler sucht nach Worten, die Halt geben koennten, doch diese Suche bleibt erfolglos. "Wo sind meine Worte?" - die Frage verweist auf eine Leere, in der Sprache nur noch Erinnerung an Bedeutung ist. Kerzen flackern, Voegel schweigen, die Schrift "verraet nichts". Orientierungslosigkeit wird zur existenziellen Erfahrung, das Wort bleibt ein leeres Gefaess.Wiederholung und StillstandDie wiederholte Aussage "Ich sass jetzt schon drei Stunden vorm Fernseher" entfaltet eine beklemmende Wirkung. Der Fernseher steht fuer einen permanenten Laerm, der Naehe simuliert, aber keine Verbindung herstellt. Flimmernde Testbilder und Schnee verweisen auf Kommunikation ohne Inhalt. Die Wiederholung erzeugt das Gefuehl eines Stillstands: Bewegung ohne Ziel, Senden ohne Empfang.Rueckzug in die Dunkelheit"Ich drehe mich um, um die Dunkelheit erneut in mir zu lassen." Dunkelheit bezeichnet hier das Fehlen von Bedeutung. Der innere Rueckzug wird zur letzten Form von Kontrolle, waehrend die Zeit weiterlaeuft. Miller laesst seine Figur zwischen Schmerz und Hoffnung schweben, zwischen Sprachfragmenten und Leere.Angelehnt an die Leere ist ein Werk der Verzweiflung und radikalen Ehrlichkeit. Es bietet keine Loesung, sondern zeigt den Zustand eines Menschen im Zerfall. Vielleicht liegt gerade darin s Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Magazine. Condition: Near Fine. First Edition. Near Fine magazine in stapled wraps about 8½x11 inches. 32 pages, unmarked. Belinda Taylor, John Denton, Russell Ellis, Carol Olson, Dan Craig, Adam David Miller, Nina Diamond, Ann Chandler, Robert Yamada, Stephen Wheeler. ; OVR91; 11 X 8.50 X 0.25 inches; 32 pages.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.