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Tormented by his mother's death. . . Taken for granted by his father. . . Trained in deadly martial arts. . . Jason Steed is looking for a place to call home. He finds what he's looking for in the Sea Cadets-an elite group of British youngsters being groomed for lifelong service in the military. But when a routine training exercise goes awry, Jason finds himself in the middle of a secret mission. The future of the world hangs in the balance. . . and Jason might be the only one who can save it.
They say that old habits die hard. I have to agree. Just look at my father. He still hasn't kicked the habit of abandoning me. But that's all right. Because if he can run. . . so can I.
T. G. Horne was a gambling man who'd bet his bankroll on his poker hand and his life on his trigger finger. Fodder City looked like a sure bet to him, but nothing was quite what it seemed...
Fleet Hospital-it's the U.S. Navy's version of M.A.S.H.At Camp Pendleton near San Diego, Fleet Hospital is conducting a simulated emergency under the command of Captain Michael McLowery. This means the place is filled with servicemen and women "moulaged" to resemble the wounded.Also on-site is reporter Lori Sepanik-aka Jo Marche-of tabloid fame. She's looking for journalistic legitimacy in the form of a good story; she thinks reporting on the Fleet exercise will provide this. But the last thing she expects to find is a "dead" body that really is!Michael's in charge of the murder investigation-and he wants Jo involved. As an outsider, she notices things others don't. She also notices the very attractive Captain McLowery....Together, the man in uniform and the woman with a camera make an unbeatable team!
In The Fleet of Stars, Poul Anderson brings back the wildly colorful Anson Guthrie, his iconoclastic hero from Harvest of Stars. The staid, somber people of Earth are not only dependent on technology, they are all but ruled by machine intelligence. Suspecting a conspiracy to suppress the last vestiges of freedom known to humankind, Guthrie sets out on a dangerous and hair-raising journey encompassing the realm of the comets, the asteroids, and the stars themselves.
A discussion of Theodor Adorno s Aesthetic Theory is bound to look significantly different today than it would have looked when the book was first published in 1970, or when it first appeared in English translation in the 1980s. In The Fleeting Promise of Art, Peter Uwe Hohendahl reexamines Aesthetic Theory along with Adorno s other writings on aesthetics in light of the unexpected return of the aesthetic to today s cultural debates. Is Adorno s aesthetic theory still relevant today? Hohendahl answers this question with an emphatic yes. As he shows, a careful reading of the work exposes different questions and arguments today than it did in the past. Over the years Adorno s concern over the fate of art in a late capitalist society has met with everything from suspicion to indifference. In part this could be explained by relative unfamiliarity with the German dialectical tradition in North America. Today s debate is better informed, more multifaceted, and further removed from the immediate aftermath of the Cold War and of the shadow of postmodernism. Adorno s insistence on the radical autonomy of the artwork has much to offer contemporary discussions of art and the aesthetic in search of new responses to the pervasive effects of a neoliberal art market and culture industry. Focusing specifically on Adorno s engagement with literary works, Hohendahl shows how radically transformative Adorno s ideas have been and how thoroughly they have shaped current discussions in aesthetics. Among the topics he considers are the role of art in modernism and postmodernism, the truth claims of artworks, the function of the ugly in modern artworks, the precarious value of the literary tradition, and the surprising significance of realism for Adorno.
Philip José Farmer applies his unique brand of sci-fi to create a thrilling post-apocalyptic America!Space Commander Stagg explored the galaxies for 800 years. Upon his return, the hero Stagg is made the centerpiece of an incredible public ritual, one that will repeatedly take him to the heights of ecstasy and the depths of hell.
"Retirement has not come easy for Detective Inspector Frank Elder. He's fled west, into a solitary existence on the Cornish coast, but he can't escape the past. He continues to be troubled by his wife's betrayal, he worries over their teenage daughter, he's haunted by bad dreams that lead him to the body of a sixteen-year-old girl." "Susan Blacklock would be thirty now. But fourteen years ago she disappeared, and for fourteen years the case of the missing schoolgirl with a flair for drama has gone unsolved. Not that Elder hadn't had his suspects. In fact, he'd seen the two of them - Shane Donald and Alan McKeirnan - convicted a year later for the brutal rape and murder of another young, pretty girl whose body had been buried in a sandy grave. And now, with Shane granted an early release from prison, Elder feels compelled to return to the seaside scenes of the crime." "Shane does not feel comfortable at the halfway house. Abused by his father, by two older brothers, by Alan McKeirnan, Shane has been bred to distrust authority, so when he's threatened at knifepoint by a fellow resident at the hostel he breaks parole: He bolts. Shortly thereafter, on an outing with two friends from school, pretty Emma Harrison goes missing. Her body is found in a shallow, sandy grave." "As Elder knows Shane's history, the fiftyish ex-policeman becomes crucial to the official investigation into the disquieting case. Unwittingly, he is also vital to its perpetration. For with cryptic messages on seaside postcards and a few purposefully planted clues, in a plot as deftly woven as it is suspensefully executed, the killer is drawing Elder inexorably into the very heart of the criminal matter. Elder's daughter is already there." Beyond detective work, beyond an aging man salvaging what he can from his broken home, beyond suspense, beyond human, believable characterization of law enforcers, suspects, criminals and bystanders, this novel poses the question, "Is it advisable to persist until the whole truth is known?"
On March 25, 1911, the Triangle Shirtwaist Factory in New York City burst into flames. The factory was crowded. The doors were locked to ensure workers stay inside. One hundred forty-six people--mostly women--perished; it was one of the most lethal workplace fires in American history until September 11, 2001.But the story of the fire is not the story of one accidental moment in time. It is a story of immigration and hard work to make it in a new country, as Italians and Jews and others traveled to America to find a better life. It is the story of poor working conditions and greedy bosses, as garment workers discovered the endless sacrifices required to make ends meet. It is the story of unimaginable, but avoidable, disaster. And it the story of the unquenchable pride and activism of fearless immigrants and women who stood up to business, got America on their side, and finally changed working conditions for our entire nation, initiating radical new laws we take for granted today.With Flesh and Blood So Cheap, Albert Marrin has crafted a gripping, nuanced, and poignant account of one of America's defining tragedies.From the Hardcover edition.
Anthropologist Dr. Bill Brockton founded Tennessee's world-famous Body Farm--a small piece of land where corpses are left to decay in order to gain important forensic information. Now, in the wake of a shocking crime in nearby Chattanooga, he's called upon by Jess Carter--the rising star of the state's medical examiners--to help her unravel a murderous puzzle. But after re-creating the death scene at the Body Farm, Brockton discovers his career, reputation, and life are in dire jeopardy when a second, unexplained corpse appears in the grisly setting. Accused of a horrific crime--transformed overnight from a respected professor to a hated and feared pariah--Bill Brockton will need every ounce of his formidable forensic skills to escape the ingeniously woven net that's tightening around him . . . and to prove the seemingly impossible: his own innocence.
Hailed as "something wholly new" and "extraordinary" in starred reviews from Library Journal and Publishers Weekly, Laura Anne Gilman's Flesh and Fire is as intoxicating as the finest of wines--and as powerful as magic itself. Once, all power in the Vin Lands was held by the prince-mages, who alone could craft spellwines, and who selfishly used them to their own gain. Now, fourteen centuries after a demigod shattered the Vine, it is the humble Vinearts who know the secret of crafting spells from wines, the source of magic, and they are prohibited from holding power. But a new darkness is rising in the vineyards, and only one Vineart, Master Malech, senses the coming danger. He has but one weapon to use against it: a young slave named Jerzy, whose origins are unknown, even to him. Yet his uncanny sense of the Vinearts' craft offers a hint of greater magics within--magics that Malech must cultivate in his new apprentice before time runs out. For if Jerzy cannot unlock the secrets of the spellwines, the Vin Lands will surely be destroyed.
A telepathic alien judge sees an amphibious human enslaved and displayed in a tank for a pleasure house. She resolves to investigate...
Are we really on the brink of having robots to mop our floors, do our dishes, mow our lawns, and clean our windows? And are researchers that close to creating robots that can think, feel, repair themselves, and even reproduce? Rodney A. Brooks, director of the MIT Artificial Intelligence Laboratory believes we are. In this lucid and accessible book, Brooks vividly depicts the history of robots and explores the ever-changing relationships between humans and their technological brethren, speculating on the growing role that robots will play in our existence. Knowing the moral battle likely to ensue, he posits a clear philosophical argument as to why we should not fear that change. What results is a fascinating book that offers a deeper understanding of who we are and how we can control what we will become.
A brilliant doctor gives up his status as a human being when he becomes a Bergmann surgeon--healing fatal sickness and wounds with psychic powers and mechanical precision. Though a great healer, he is an outcast, and he hand his kind wander from emergency to emergency, at the beck and call of MedAm. When not working, he is drinking, lost in a fog, trying to forget the things which he has lost. But when a dying despot hijacks him, he is forced to face what his life has become, and--with the help of a killer for hire--reclaim what it means to be a healer.
The Cirque de Charnu has come. They will clean out the demons and the suicides, and move on. As long as they stay within the rules, Jill Kismet can't deny them entry. But she can watch--and if they step out of line, she'll send them packing. When Cirque performers start dying grotesquely, Kismet has to find out why, or the fragile truce won't hold and her entire city will become a carnival of horror. She also has to play the resident hellbreed power against the Cirque to keep them in line, and find out why ordinary people are needing exorcisms. And then there's the murdered voodoo practitioners, and the zombies. An ancient vengeance is about to be enacted. The Cirque is about to explode. And Jill Kismet is about to find out some games are played for keeps...
Out of the flooded streets of Houston, they emerge from plague-ridden waters. Dead. Rotting. Hungry...
Silverman (rhetoric and film studies, University of California, Berkeley) argues for a return to analogy, of seeing ourselves as part of a whole. She sees life as a conflict between the desire for unity and the need to be unique. While drawing from a number of sources, including Freud, Rilke, Proust, Leonardo Da Vinci and Nietzsche, her primal metaphors are from Ovid's Metamorphosis, especially the story of Orpheus and Eurydice. In the first half of the book, she concentrates on nineteenth century redactions of the myth. The ways in which artists and philosophers tackled the dichotomy is shown as entwined with a sense of selfhood but also a sense of mortality. In the second half, Silverman uses the examples of Malick's film The Thin Red Line, the "intervention" created by James Coleman for a 2002 Leonardo exhibit at the Louvre and, lastly, the photographs/paintings of Gerhardt Richter which include images and distortions of death. The book is illustrated throughout, along with a group of colored plates. Annotation c2010 Book News, Inc. , Portland, OR (booknews. com)
Inspector John Rebus has confronted Edinburgh's most hardened criminals, its bloodiest crime scenes, and its most dangerous backstreets - but nothing could have prepared him for what he finds on Fleshmarket Alley. In the city's red-light district, men live out their sordid fantasies, and women with no other choice sell their bodies to make a buck. It's a neighborhood of lost inhibitions, forgotten scruples, and hopeless dreams. In its seediest clubs, refugees seeking asylum are subjected to the whims of the most ruthless characters in the crime world - men Rebus knows all too well.
FletchHe's an investigative reporter whose methods are a little unorthodox. Currently he's living on the beach with the strung-out trying to find to the source of the drugs they live for. FletchHe's taking more than a little flack from his editor. She doesn't appreciate his style. Or the expense account items he's racking up. Or his definition of the word deadline. Or the divorce lawyers who keep showing up at the office.FletchSo when multimillionaire Alan Stanwyk offers Fletch the job of a lifetime, which could be worth a fortune, he's intrigued and decides to do a little investigation. What he discovers is that the proposition is anything but what it seems.From the Trade Paperback edition.
Fletch, Too After a few delays and without the benefit of a rehearsal, it looks like Fletch is finally getting hitched. It's a small affair, just a few friends, the bride's parents, the groom's mother, and, just maybe, his father. Except Fletch's father is supposed to be dead. Fletch, Too But somebody delivered the letter, signed Fletch (senior) and containing an invitation (and a pair of plane tickets) to visit the old man in Nairobi for the honeymoon. Never mind Fletch and his bride were planning a ski trip to Colorado. Fletch, Too No sooner does the couple land in Africa (togged out for skiing!), then the search for Fletch's father begins. There's a murder at the airport, reports of the old man's incarceration, and the hospitality (and evasiveness) offered by pop's best friend, who flies them across the continent, just a step or two behind (or maybe ahead of) the old rascal.
As a fledgling reporter, Fletch is doing more flailing than anything else. That and floating around from department to department trying to figure where he fits in. His managing editor's got him pegged for the society pages, but the kind of society Fletch gets involved with is anything but polite. His first big interview, a millionaire lawyer with a crooked streak and an itch to give away some of his ill-gotten gains, ends up dead in the News-Tribune's parking lot before Fletch can ask question number one. So Fletch ends up going after the murderer instead, and ends up learning a thing or two about crime and punishment. At the same time, he's supposed to be covering (or maybe uncovering) a health spa that caters to all its clients needs, and gets hired as a very personal trainer. Never mind that he's supposed to be getting married at the end of the week; Fletch has a few other engagements to take care of first.
Business tycoon Sam Fletcher was used to getting his own way. He'd never been in a situation he couldn't handle. So when Josie Nolan broke the news to him that she was expecting his baby, Sam was a little shaken-but not deterred! A Fletcher baby meant one thing to Sam: marriage. It was the logical, sensible, responsible thing to do, wasn't it? But Josie wanted to marry for love, not logic. The baby's birth was imminent, so Sam needed to change her mind-quick!
Washington's rowdy lumber camps were no place for an innocent young beauty. And when lovely Rachel McKinnon caught the eye of Jonas Wilkes, she was truly in dire straits. Wilkes owned the lumber empire, the town, the people -- and now he wanted Rachel. Her only hope was the town's darkly handsome doctor, Griffin Fletcher. In a promise to her dying mother, Fletcher had reluctantIly promised to protect Rachel from harm. But the smoldering enmity he felt for Wilkes would erupt in passionate conflicts...for the young doctor, who had forsworn any chance of loving again, was now desperately in love with his ward, and she with him.
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