A plain-English primer on crime scene investigation that's a must for fans of CSI or Patricia Cornwell Since the O. J. Simpson case, popular interest in forensic science has exploded: CBS's CSI has 16 to 26 million viewers every week, and Patricia Cornwell's novels featuring a medical examiner sleuth routinely top bestseller lists, to cite just a few examples. Now, everyone can get the lowdown on the science behind crime scene investigations. Using lots of fascinating case studies, forensics expert Dr. D. P. Lyle clues people in on everything from determining cause and time of death to fingerprints, fibers, blood, ballistics, forensic computing, and forensic psychology. With its clear, entertaining explanations of forensic procedures and techniques, this book will be an indispensable reference for mystery fans and true crime aficionados everywhere-and even includes advice for people interested in forensic science careers. D. P. Lyle, MD (Laguna Hills, CA), is a practicing cardiologist who is also a forensics expert and mystery writer. He runs a Web site that answers writers' questions about forensics, dplylemd.com, and is the author of Murder and Mayhem: A Doctor Answers Medical and Forensic Questions for Writers, as well as several mystery novels. John Pless, MD, is Professor Emeritus of Pathology at Indiana University School of Medicine and former President of the National Association of Medical Examiners.
Rhodesia's racially inspired rebellion and subsequent unilateral declaration of independence from Britain in November 1965 had profound implications for neighbouring Zambia's national security and economic survival. Focusing on landlocked Zambia's response to the economic and military threat posed by Rhodesia, Zambian Crisis Behaviour is a penetrating analysis of the foreign policy decision-making process under conditions of crisis-induced stress.
The path From Meaning to Desire draws its characters through nine stories, eight set in 1960, along the Red River, from Shreveport to Natchitoches in western Louisiana, to the last in South Vietnam in 1967. The book opens on Lillian Stallings. Shy, missing her deceased father, and at 38 adjusting to premature grandparenthood, she finds her life dismayingly similar to her mother's -- unfulfilled, unengaged, and short on meaning. When she and her husband are traveling to their first visit to see their grandchild, Lillian is traumatized by Lou, the book's other protagonist, who owns a caf and motel near Shreveport. Following the trauma, the visit to the daughter's home goes even worse than feared: Lillian's distress overflows and she flees, fearing that her husband Gerald and their daughter will have her committed to a mental institution. Louis Fontinot, carnival prize fighter, speakeasy bouncer, World War I veteran, and sometimes wrestler of alligators, is also a closet devourer of high quality fiction, a self-identified "counterfeit" Cajun, and the benevolent patriarch of an extended family of siblings, their families, and the children of his cook and her partner. Especially close are his sister, Marie Lynn -- a librarian who shares Lou's love of literature -- and her son, Marlow, in whom Lou finds a kind of alter ego. Plot and characters emerge from the risks, fears, passions, and complexities of local culture, segregation, civil rights, the Klan, family dynamics, and the emerging love story of Lou and Lillian. The ninth story is a counter spin on the first eight.
A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists. Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal. Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.
Noisy popular liberal interventionism? Or a more conservative, diplomatic approach concentrating on co-operation between nations? This is the debate that lies at the heart of modern politics and Hurd traces its most interesting and influential exponents. He starts with Canning and Castelreagh in post Waterloo Britain; to a generation later, the victory of the interventionist Palmerston over Aberdeen; then to Salisbury (Imperialism) and Grey (European balance of power); and finally to Eden and Bevin who combined to lay the foundations of a post-war compromise. That delicate balance has served its purpose for over half a century, but as we enter a new era of terrorism and racial conflict, the old questions and divisions are re-surfacing . . .
The Second World War was a watershed moment in foreign policy for the Labour Party in Britain. This book traces how the British democratic left set about the task of defining the principles of a radically new international system for the post-war world. The author shows how the experience of total war fundamentally reshaped the left's attitudes toward national identity and international policy. Breaking with the traditional accounts that place Cold War tensions at the centre of the Attlee government's activities in the immediate postwar years, R. M. Douglas's book provides an entirely new framework for reassessing British foreign policy and left-wing concepts of national identity during the most turbulent mement of Britain's modern history.
Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.
The Dakota came to the Red River area in 1862, bringing with them their skills in hunting and gathering, fishing and farming. Each of the bands that came to the Canadian prairies had a different combination of skills and adapted in a different way to the conditions they found. This volume recounts the history of the Dakota in Canada by examining the economic strategies they used to survive"--Back cover.
Over the course of his long and storied career, George Mitchell proved to be much more than just that senator from Maine. He is one of the last from a sort of "golden age" of American politics, when opposing parties worked together to accomplish things for the good of the nation, rather than the good of the party. Before becoming senator, Mitchell was an attorney and then a judge in Maine. Among his many public efforts, he is perhaps known for his environmental work and his work on peace and justice, especially his brokering of the peace in Ireland and his efforts in the Middle East. Now, seasoned journalist Douglas Rooks gives us a thoughtful and highly readable look at the man and his public work. While the book traces his personal life, it is primarily a political biography, exploring his time in office as well as his public work before and after his elected terms.Compiled from extensive interviews with Mitchell as well as staffers and others who've known and worked with him, it is as much an exploration of American politics at a time when politics could actually be said to have "worked," as it is a man whose vision and ideals have helped shape the world.
Although the United States did not enter the First World War until April 1917, Canada enlisted the moment Great Britain engaged in the conflict in August 1914. The Canadian contribution was great, as more than 600,000 men and women served in the war effort—400,000 of them overseas—out of a population of 8 million. More than 150,000 were wounded and nearly 67,000 gave their lives. The war was a pivotal turning point in the history of the modern world, and its mindless slaughter shattered a generation and destroyed seemingly secure values. The literature that the First World War generated, and continues to generate so many years later, is enormous and addresses a multitude of cultural and social matters in the history of Canada and the war itself. Although many scholars have brilliantly analyzed the literature of the war, little has been done to catalog the writings of ordinary participants: men and women who served in the war and wrote about it but are not included among well-known poets, novelists, and memoirists. Indeed, we don’t even know how many titles these people published, nor do we know how many more titles were added later by relatives who considered the recollections or collected letters worthy of publication. Brian Douglas Tennyson’s The Canadian Experience of the Great War: A Guide to Memoirs is the first attempt to identify all of the published accounts of First World War experiences by Canadian veterans.
Rossinow revisits the period between the 1880s and the 1940s, when reformers and radicals worked together along a middle path between the revolutionary left and establishment liberalism. He takes the story up to the present, showing how the progressive connection was lost and explaining the consequences that followed.
The centenary of the outbreak of the First World War may be commemorated by some as a great moment of national history. But the standard history of Britain’s choice for war is far from the truth. Using a wide range of sources, including the personal papers of many of the key figures, some for the first time, historian Douglas Newton presents a new, dramatic narrative. He interleaves the story of those pressing for a choice for war with the story of those resisting Britain’s descent into calamity. He shows how the decision to go to war was rushed, in the face of vehement opposition, in the Cabinet and Parliament, in the Liberal and Labour press, and in the streets. There was no democratic decision for war. The history of this opposition has been largely erased from the record, yet it was crucial to what actually happened in August 1914. Two days before the declaration of war four members of the Cabinet resigned in protest at the war party’s manipulation of the crisis. The government almost disintegrated. Meanwhile large crowds gathered in Trafalgar Square to hear the case for neutrality and peace. Yet this cry was ignored by the government. Meanwhile, elements of the press, the Foreign Office, and the Tory Opposition sought to browbeat the government into a quick decision. Belgium had little to do with it. The key decision to enter the war was made before Belgium was invaded. Those bellowing for hostilities were eager for Britain to enter any war in solidarity with Russia and France – for the future safety of the British Empire. In particular Newton shows how Prime Minister H. H. Asquith, Foreign Minister Sir Edward Grey, and First Lord of the Admiralty Winston Churchill colluded to pre-empt the decisions of Cabinet, to manipulate the parliament, and to hurry the nation toward intervention by any means necessary.
Following his acclaimed life of Dickens, Robert Douglas-Fairhurst illuminates the tangled history of two lives and two books. Drawing on numerous unpublished sources, he examines in detail the peculiar friendship between the Oxford mathematician Charles Dodgson (Lewis Carroll) and Alice Liddell, the child for whom he invented the Alice stories, and analyzes how this relationship stirred Carroll’s imagination and influenced the creation of Wonderland. It also explains why Alice in Wonderland (1865) and its sequel, Through the Looking-Glass (1871), took on an unstoppable cultural momentum in the Victorian era and why, a century and a half later, they continue to enthrall and delight readers of all ages. The Story of Alice reveals Carroll as both an innovator and a stodgy traditionalist, entrenched in habits and routines. He had a keen double interest in keeping things moving and keeping them just as they are. (In Looking-Glass Land, Alice must run faster and faster just to stay in one place.) Tracing the development of the Alice books from their inception in 1862 to Liddell’s death in 1934, Douglas-Fairhurst also provides a keyhole through which to observe a larger, shifting cultural landscape: the birth of photography, changing definitions of childhood, murky questions about sex and sexuality, and the relationship between Carroll’s books and other works of Victorian literature. In the stormy transition from the Victorian to the modern era, Douglas-Fairhurst shows, Wonderland became a sheltered world apart, where the line between the actual and the possible was continually blurred.
Brownies, kelpies, mermen, trolls, and other supernatural creatures magically appear in a series of delightful tales to assist, annoy, and otherwise meddle in the lives of simple Scottish country folk.
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