A riveting and original debut thriller from a crime writer you won't want to miss, featuring a protagonist you won't be able to forget. Horror writer Jericho Sands has had a hell of a month. He's endured a bitter break up with his punk rocker girlfriend, learned that his lungs are blacker than a coal mine, and served time in county jail for throwing a United States Congressman in a dumpster. He's heartbroken, sleep deprived and suffering from a debilitating case of writer's block Life is about to get much worse. Somebody from Jericho's past has left a decapitated body on his doorstep. The similarity to methods used in his books, his lack of an alibi and his proximity to the victim all lead the detectives handling the case to quickly identify Jericho as the primary suspect. But being framed for murder is the least of Jericho's problems, because this killer is only getting started. The mysterious executioner known as 'The River City Slasher' has made it clear that more innocent people will be killed before Jericho himself is the final victim. Unable to trust the cops, Jericho is forced to examine the darkest parts of his own psyche to catch a killer, save innocent lives, and free himself from his own guilt. When Jericho finally learns the identity of the killer terrorizing the city, it shocks him in ways he was unprepared for, causing him to doubt all he holds to be true, including his own judgment and motivations. The first book in the Jericho Sands series, Jericho's Razor heralds the debut of a phenomenal new thriller writer in Casey Doran.
Jericho Sands has spent the past nine months in Mexico getting in bar fights with shark poachers, drinking tequila and listening to wolves howl outside the walls of the beachfront shack he’s been calling home. He’s living completely ‘off the grid’; no power, no phone, nothing but nagging questions about who he is and how far he allowed himself to fall for a woman who proved to be a serial killer hell-bent on revenge. He’s struggled with his decision to let Alyssa Jagger live. Was it because he realized that revenge does not equal justice? Or did he spare her life because deep down, in a dark place he doesn’t want to explore, he allowed himself to fall for her and could not bring himself to be her executioner. Jericho’s self-imposed exile is ended when he learns about the murder of his best friend and father figure, Gus Tanner. Gunshots fired in a dark alley force Jericho back to the city he left behind and he soon discovers that a new killer is making himself known, a daring young painter who uses the blood of his victims as the medium for his works of art. The butcher who the media dubs ‘The DaVinci of Death’, leaves his handiwork on the front door of a new art gallery and demands that it be displayed, or else more macabre works will follow. Katrina Masters, the owner of the gallery and Jericho’s old flame, refuses to be blackmailed, enraging the killer who is determined to make the town appreciate his talents. Even if it kills them all. While facing the fallout from everything he left behind, Jericho must also deal with a new police chief with a personal vendetta, detectives who prove incapable of stopping the killer, his resurrected feelings for Katrina Masters and his conflicted feelings for Alyssa Jagger. To find the killer, Jericho must continue going down roads he does not want travel. He must commit to choices that will forever determine who he truly is. And this time, there will be going back.
A story of a man who was born and raised in the harsh and loving streets of Atlanta, GA. "THE DIRTY SOUTH" who came to adapt his life around the way he live and hoping he can one day live better.
A riveting and original debut thriller from a crime writer you won't want to miss, featuring a protagonist you won't be able to forget. Horror writer Jericho Sands has had a hell of a month. He's endured a bitter break up with his punk rocker girlfriend, learned that his lungs are blacker than a coal mine, and served time in county jail for throwing a United States Congressman in a dumpster. He's heartbroken, sleep deprived and suffering from a debilitating case of writer's block Life is about to get much worse. Somebody from Jericho's past has left a decapitated body on his doorstep. The similarity to methods used in his books, his lack of an alibi and his proximity to the victim all lead the detectives handling the case to quickly identify Jericho as the primary suspect. But being framed for murder is the least of Jericho's problems, because this killer is only getting started. The mysterious executioner known as 'The River City Slasher' has made it clear that more innocent people will be killed before Jericho himself is the final victim. Unable to trust the cops, Jericho is forced to examine the darkest parts of his own psyche to catch a killer, save innocent lives, and free himself from his own guilt. When Jericho finally learns the identity of the killer terrorizing the city, it shocks him in ways he was unprepared for, causing him to doubt all he holds to be true, including his own judgment and motivations. The first book in the Jericho Sands series, Jericho's Razor heralds the debut of a phenomenal new thriller writer in Casey Doran.
Jericho Sands has spent the past nine months in Mexico getting in bar fights with shark poachers, drinking tequila and listening to wolves howl outside the walls of the beachfront shack he’s been calling home. He’s living completely ‘off the grid’; no power, no phone, nothing but nagging questions about who he is and how far he allowed himself to fall for a woman who proved to be a serial killer hell-bent on revenge. He’s struggled with his decision to let Alyssa Jagger live. Was it because he realized that revenge does not equal justice? Or did he spare her life because deep down, in a dark place he doesn’t want to explore, he allowed himself to fall for her and could not bring himself to be her executioner. Jericho’s self-imposed exile is ended when he learns about the murder of his best friend and father figure, Gus Tanner. Gunshots fired in a dark alley force Jericho back to the city he left behind and he soon discovers that a new killer is making himself known, a daring young painter who uses the blood of his victims as the medium for his works of art. The butcher who the media dubs ‘The DaVinci of Death’, leaves his handiwork on the front door of a new art gallery and demands that it be displayed, or else more macabre works will follow. Katrina Masters, the owner of the gallery and Jericho’s old flame, refuses to be blackmailed, enraging the killer who is determined to make the town appreciate his talents. Even if it kills them all. While facing the fallout from everything he left behind, Jericho must also deal with a new police chief with a personal vendetta, detectives who prove incapable of stopping the killer, his resurrected feelings for Katrina Masters and his conflicted feelings for Alyssa Jagger. To find the killer, Jericho must continue going down roads he does not want travel. He must commit to choices that will forever determine who he truly is. And this time, there will be going back.
Regenerating Dixie is the first book that traces the electrification of the US South from the 1880s to the 1970s. It emphasizes that electricity was not solely the result of technological innovation or federal intervention. Instead, it was a multifaceted process that influenced, and was influenced by, environmental alterations, political machinations, business practices, and social matters. Although it generally hewed to national and global patterns, southern electrification charted a distinctive and instructive path and, despite orthodoxies to the contrary, stood at the cutting edge of electrification from the late 1800s onward. Its story speaks to the ways southern experiences with electrification reflected and influenced larger American models of energy development. Inasmuch as the South has something to teach us about the history of American electrification, electrification also reveals things about the South’s past. The electric industry was no mere accessory to the “New South” agenda—the ongoing project of rehabilitating Dixie after the Civil War and Reconstruction. Electricity powered industrialism, consumerism, urban growth, and war. It moved people across town, changed land- and waterscapes, stoked racial conflict, sparked political fights, and lit homes and farms. Electricity underwrote people’s daily lives across a century of southern history. But it was not simply imposed on the South. In fact, one Regenerating Dixie’s central lessons is that people have always mattered in energy history. The story of southern electrification is part of the broader struggle for democracy in the American past and includes a range of expected and unexpected actors and events. It also offers insights into our current predicaments with matters of energy and sustainability.
Resurrection of the dead represents one of the more enigmatic beliefs of Western religions to many modern readers. In this volume, C. D. Elledge offers an interpretation of some of the earliest literature within Judaism that exhibits a confident hope in resurrection. He not only aids the study of early Jewish literature itself, but expands contemporary knowledge of some of the earliest expressions of a hope that would become increasingly meaningful in later Judaism, Christianity, and Islam. Elledge focuses on resurrection in the latest writings of the Hebrew Bible, the Apocrypha, Pseudepigrapha, Dead Sea Scrolls, as well as the writings of other Hellenistic Jewish authors. He also incorporates later rabbinic writings, early Christian sources, and inscriptions, as they shed additional light upon select features of the evidence in question. This allows for a deeper look into how particular literary works utilized the discourse of resurrection, while also retaining larger comparative insights into what these materials may teach us about the gradual flourishing of resurrection within its early Jewish environment. Individual chapters balance a more categorical/comparative approach to the problems raised by resurrection (definitions, diverse conceptions, historical origins, strategies of legitimation) with a more specific focus on particular pieces of the early Jewish evidence (1 Enoch, Dead Sea Scrolls, Josephus). Resurrection of the Dead in Early Judaism, 200 BCE-CE 200 provides a treatment of resurrection that informs the study of early Jewish theologies, as well as their later reinterpretations within Rabbinic Judaism and Christianity.
Candice i Ianu bit će vrlo vruće.Ian MacKenzie, i dalje ogorčen zbog raskinutih zaruka te života na obiteljskom ranču, mrzovoljan je već gotovo tri godine, a u tome mu ne pomaže ni bračna sreća njegova brata Macka. Situaciju će pogoršati i dolazak praznoglave prijateljice bratove trudne supruge. Candice dolazi pomoći s novorođenim djetetom iako to znači da će svoje elegantne cipele morati zamijeniti čizmama za snijeg, a glačalo za kosu flanelskom košuljom. Nije nimalo spremna za ledenu hladnoću, a nedvojbeno nije očekivala ni žarku vrelinu privlačnosti prema stanovitom zelenookom kauboju. Ian možda jest nepristojan i silno je ljuti, ali u trapericama izgleda grješno dobro. Sukobljavaju se na svakom koraku, ali se u jednome slažu - ako se prepuste neporecivoj kemiji, bit će to samo kratka vezica... jer, on je dečko sa sela, ona je cura iz grada, a adrese su im na suprotnim stranama zemljovida.
With extensive backstories and comic lore, this lively, detailed book explores the characters, storylines, and facts every Avengers fan should know. This guide covers the history of how the group went from Justice League knockoff to billion-dollar franchise; the history of Ultron, Thanos, and the Infinity Gauntlet; and the series' seminal storylines, writers, and artists. It includes information on everyone's favorite Avengers, including Iron Man, Thor, Hulk, Captain America, Hawkeye, and Black Widow, as well as members of the Secret Avengers and the New Avengers. Author Daniel Casey has collected every essential piece of Avengers knowledge and trivia, including why the Avengers went out for shawarma, as well as must-do activities, such as how to make the most of your Comic-Con experience and how to properly preserve your comic book collection, and ranks them all, providing an entertaining and easy-to-follow checklist for fans of all ages.
America's struggle against Nazism is one of the few aspects of World War II that has escaped controversy. Historians agree that it was a widely popular war, different from the subsequent conflicts in Korea and Vietnam because of the absence of partisan sniping, ebbing morale, or calls for a negotiated peace. In this provocative book, Steven Casey challenges conventional wisdom about America's participation in World War II. Drawing on the numerous opinion polls and surveys conducted by the U.S. government, he traces the development of elite and mass attitudes toward Germany, from the early days of the war up to its conclusion. Casey persuasively argues that the president and the public rarely saw eye to eye on the nature of the enemy, the threat it posed, or the best methods for countering it. He describes the extensive propaganda campaign that Roosevelt designed to build support for the war effort, and shows that Roosevelt had to take public opinion into account when formulating a host of policies, from the Allied bombing campaign to the Morgenthau plan to pastoralize the Third Reich. By examining the previously unrecognized relationship between public opinion and policy making during World War II, Casey's groundbreaking book sheds new light on a crucial era in American history.
Reviewing fundamentals serves to strengthen understanding and skills. Fundamentals of Nursing Made Incredibly Easy, Third Edition, is an easy-to-use resource for the nurse, the nursing student, and the nursing instructor.
This history of Ireland is inextricably linked with our relationship with the land. In this book, based on extensive research and investigation, the authors examine some of the key figures in Irish agrarian agitation and change. Looking at the Land League, the Knights of the Plough, the perception and reality of the Irish Landlords, this is an important book which makes a significant contribution to our understanding of the nature of the 'land question' in Irish history.
The "Young American" critics -- Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Lewis Mumford -- are well known as central figures in the Greenwich Village "Little Renaissance" of the 1910s and in the postwar debates about American culture and politics. In Beloved Community, Casey Blake considers these intellectuals as a coherant group and assesses the connection between thier cultural criticisms and their attempts to forge a communitarian alternative to liberal and socialist poitics. Blake draws on biography to emphasize the intersection of questions of self, culture, and society in their calls for a culture of "personality" and "self-fulfillment." In contrast to the tendency of previous analyses to separate these critics' cultural and autobiographical writings from their politics, Blake argues that their cultural criticism grew out of a radical vision of self-realization through participation in a democratic culture and polity. He also examines the Young American writers' interpretations of such turn-of-the-century radicals as William Morris, Henry George, John Dewey, and Patrick Geddes and shows that this adversary tradition still offers important insights into contemporary issues in American politics and culture. Beloved Community reestablishes the democratic content of the Young Americans' ideal of "personality" and argues against viewing a monolithic therapeutic culture as the sole successor to a Victorian "culture of character." The politics of selfhood that was so critical to the Young Americans' project has remained a contested terrain throughout the twentieth century.
The Apostle Paul expected the vast majority of the recipients of his letters to hear, not read, them. He structured his compositions for the ear rather than the eye. Pauline audiences would hear clues to meaning and structure because they had learned to communicate in a world where those clues were essential to understanding. Recognizable structures and patterns were essential for listeners to organize what they heard, to follow, to predict and to remember the flow of communication. Oral Biblical Criticism examines Paul's Epistle to the Philippians in light of recent study of oral principles of composition and interpretation.
From the North African desert to the bloody stalemate in Italy, from the London blitz to the D-Day beaches, a group of highly courageous and extremely talented American journalists reported the war against Nazi Germany for a grateful audience. Based on a wealth of previously untapped primary sources, War Beat, Europe provides the first comprehensive account of what these reporters witnessed, what they were allowed to publish, and how their reports shaped the home front's perception of some of the most pivotal battles in American history. In a dramatic and fast-paced narrative, Steven Casey takes readers from the inner councils of government, where Franklin D. Roosevelt and George Marshall held clear views about how much blood and gore Americans could stomach, to the command centers in London, Algiers, Naples, and Paris, where many reporters were stuck with the dreary task of reporting the war by communiqué. At the heart of this book is the epic journey of reporters like Wes Gallagher and Don Whitehead of the Associated Press, Drew Middleton of the New York Times, Bill Stoneman of the Chicago Daily News, and John Thompson of the Chicago Tribune; of columnists like Ernie Pyle and Hal Boyle; and of photographers like Margaret Bourke-White and Robert Capa. These men and women risked their lives on countless occasions to get their dispatches and their images back home. In providing coverage of war in an open society, they also balanced the weighty responsibility of adhering to censorship regulations while working to sell newspapers and maintaining American support for the war. These reporters were driven by a combination of ambition, patriotism, and belief in the cause. War Beat, Europe shows how they earned their reputation as America's golden generation of journalists and wrote the first draft of World War II history for posterity.
A historical exploration of the Irish image in popular culture It only took a century or so to segue from phrases like “No Irish Need Apply” to “Kiss Me, I’m Irish” in American popular culture. Indeed, the transformation of the Irish image is a fascinating blend of political, cultural, racial, commercial, and social influences. The Green Space examines the variety of factors that contributed to remaking the Irish image from downtrodden and despised to universally acclaimed. To understand the forces that molded how people understand “Irish” is to see the matrix—the green space—that facilitated their interaction between the 1890s and 1960s. Marion R. Casey argues that, as “Irish” evolved between the mid-nineteenth and mid-twentieth centuries, a visual and rhetorical expanse for representing ethnicity was opened up in the process. The evolution was also transnational; both Ireland and the United States were inextricably linked to how various iterations of “Irish” were deployed over time—whether as a straightforward noun about a specific people with a national identity or a loose, endlessly malleable adjective only tangentially connected to actual ethnic identity. Featuring a rich assortment of sources and images, The Green Space takes the history of the Irish image in America as a prime example of the ways in which culture and identity can be manufactured, repackaged, and ultimately revolutionized. Understanding the multifaceted influences that shaped perceptions of “Irishness” holds profound relevance for examining similar dynamics within studies of various immigrant and ethnic communities in the US.
I thought that no man liveth and dieth to himself, so I put behind what I thought and what I did the panorama of the world I lived in - the things that made me.' Sean O'Casey, 1948 Sean O'Casey's six-part Autobiography, originally published between 1939 and 1955, is an eloquently comprehensive self-portrait of an artist's life and times, unsurpassed in literature. Drums Under the Windows (1945) sees O'Casey's young (pre-writing) life taking shape amid the extraordinary tumult of Ireland in the early twentieth century, thus leading him into the fray of the Easter Rising of 1916. Inishfallen, Fare Thee Well (1949) charts the steps towards his emigration from Ireland in 1926: a move pressed upon O'Casey by his hard struggle against the restrictions and prohibitions wrought by Irish society, church and state. Faber Finds is devoted to restoring to readers a wealth of lost or neglected classics and authors of distinction. The range embraces fiction, non-fiction, the arts and children's books. For a full list of available titles visit www.faberfinds.co.uk. To join the dialogue with fellow book-lovers please see our blog, www.faberfindsblog.co.uk.
In Freedom's Progress?, Gerard Casey argues that the progress of freedom has largely consisted in an intermittent and imperfect transition from tribalism to individualism, from the primacy of the collective to the fragile centrality of the individual person and of freedom. Such a transition is, he argues, neither automatic nor complete, nor are relapses to tribalism impossible. The reason for the fragility of freedom is simple: the importance of individual freedom is simply not obvious to everyone. Most people want security in this world, not liberty. 'Libertarians,' writes Max Eastman, 'used to tell us that "the love of freedom is the strongest of political motives," but recent events have taught us the extravagance of this opinion. The "herd-instinct" and the yearning for paternal authority are often as strong. Indeed the tendency of men to gang up under a leader and submit to his will is of all political traits the best attested by history.' The charm of the collective exercises a perennial magnetic attraction for the human spirit. In the 20th century, Fascism, Bolshevism and National Socialism were, Casey argues, each of them a return to tribalism in one form or another and many aspects of our current Western welfare states continue to embody tribalist impulses. Thinkers you would expect to feature in a history of political thought feature in this book - Plato, Aristotle, Machiavelli, Locke, Mill and Marx - but you will also find thinkers treated in Freedom's Progress? who don't usually show up in standard accounts - Johannes Althusius, Immanuel Kant, William Godwin, Max Stirner, Joseph Proudhon, Mikhail Bakunin, Pyotr Kropotkin, Josiah Warren, Benjamin Tucker and Auberon Herbert. Freedom's Progress? also contains discussions of the broader social and cultural contexts in which politics takes its place, with chapters on slavery, Christianity, the universities, cities, Feudalism, law, kingship, the Reformation, the English Revolution and what Casey calls Twentieth Century Tribalisms - Bolshevism, Fascism and National Socialism and an extensive chapter on human prehistory.
In Turning Emotion Inside Out, Edward S. Casey challenges the commonplace assumption that our emotions are to be located inside our minds, brains, hearts, or bodies. Instead, he invites us to rethink our emotions as fundamentally, although not entirely, emerging from outside and around the self, redirecting our attention from felt interiority to the emotions located in the world around us, beyond the confines of subjectivity. This book begins with a brief critique of internalist views of emotion that hold that feelings are sequestered within a subject. Casey affirms that while certain emotions are felt as resonating within our subjectivity, many others are experienced as occurring outside any such subjectivity. These include intentional or expressive feelings that transpire between ourselves and others, such as an angry exchange between two people, as well as emotions or affects that come to us from beyond ourselves. Casey claims that such far‐out emotions must be recognized in a full picture of affective life. In this way, the book proposes to “turn emotion inside out.”
The fourth edition of Wills, Probate and Estates has been written to provide trainee solicitors with a clear and thorough understanding of current best practice in the area of wills, trusts, probate and the administration of estates. The manual takes into account recent changes in legislation, particularly the Land and Conveyancing Law Reform Act 2009, the Civil Partnership and Certain Rights and Obligations of Cohabitants Act 2010 and certain relevant changes to the Capital Acquisitions Tax Consolidation Act 2003. The book outlines the basic elements of a will, familiarising trainees with the common law and statutory background enabling them to draft wills and simple trusts in accordance with statute and their clients' informed instructions. The manual goes on to deal with obtaining the necessary grant of representation on the death of a client, either with or without a will, and administering such an estate. Wills, Probate and Estates provides succinct and practical advice, provided by solicitors for solicitors, tackling questions of practice and procedure that are of central importance not only for students on the Professional Practice Course, but also to practitioners who deal with any area of wills, trusts, probate or the administration of estates.
Japanese manga comic books have attracted a devoted global following. In the popular press manga is said to have “invaded” and “conquered” the United States, and its success is held up as a quintessential example of the globalization of popular culture challenging American hegemony in the twenty-first century. In Manga in America - the first ever book-length study of the history, structure, and practices of the American manga publishing industry - Casey Brienza explodes this assumption. Drawing on extensive field research and interviews with industry insiders about licensing deals, processes of translation, adaptation, and marketing, new digital publishing and distribution models, and more, Brienza shows that the transnational production of culture is an active, labor-intensive, and oft-contested process of “domestication.” Ultimately, Manga in America argues that the domestication of manga reinforces the very same imbalances of national power that might otherwise seem to have been transformed by it and that the success of Japanese manga in the United States actually serves to make manga everywhere more American.
Outside Japan, the term ’manga’ usually refers to comics originally published in Japan. Yet nowadays many publications labelled ’manga’ are not translations of Japanese works but rather have been wholly conceived and created elsewhere. These comics, although often derided and dismissed as ’fake manga’, represent an important but understudied global cultural phenomenon which, controversially, may even point to a future of ’Japanese’ comics without Japan. This book takes seriously the political economy and cultural production of this so-called ’global manga’ produced throughout the Americas, Europe, and Asia and explores the conditions under which it arises and flourishes; what counts as ’manga’ and who gets to decide; the implications of global manga for contemporary economies of cultural and creative labour; the ways in which it is shaped by or mixes with local cultural forms and contexts; and, ultimately, what it means for manga to be ’authentically’ Japanese in the first place. Presenting new empirical research on the production of global manga culture from scholars across the humanities and social sciences, as well as first person pieces and historical overviews written by global manga artists and industry insiders, Global Manga will appeal to scholars of cultural and media studies, Japanese studies, and popular and visual culture.
This book, with its illuminating introduction and notes, traces the evolution of Casey's 'delicate' role as Australian Minister to the United States during a critical time in Australia's history. It reveals Casey treading a fine diplomatic tightrope for America's support of Britain and Australia in the war, without risking aggravation of America's many powerful isolationists.
This book explores the experience of small farmers, labourers and graziers in provincial Ireland from the immediacy of the Famine until the eve of World War One. During this period of immense social and political change, they came to grips with the processes of modernisation. By focusing upon east Galway, it argues that they were not an inarticulate mass, but rather, they were sophisticated and politically aware in their own right. This study relies upon a wide array of sources which have been utilised to give as authentic a voice to the lower classes as possible. Their experiences have been largely unrecorded and this book redresses this imbalance in historiography while adding a new nuanced understanding of the complexities of class relations in provincial Ireland. This book argues that the actions of the rural working class and nationalists has not been fully understood, supporting E.P. Thompson’s argument that ‘their aspirations were valid in terms of their own experiences’.
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