In this thriller, former clandestine agent Clayton Wolfe leads an unconventional team to find and secure a free-energy device that could revolutionize or destroy the world. It is 1982 when Clayton Wolfes nemesis, Devon Barnes, appears uninvited on Wolfes doorstep at his remote cabin in the deep woods of Michigans Upper Peninsula. Barnes threatens to kill Terri Sommers if Wolfe doesnt find a local professor who has disappeared along with his world-destabilizing inventions in dark energy. Sommers, who enlisted Wolfes help to solve a previous mystery, is an AP investigative reporter with whom Wolfe developed a romantic relationship. Wolfe recruits several former clandestine associates, as well as the local sheriff and coroner. He also persuades Terri to join the investigation to keep her safe and to bring her back into his life. Mayhem ensues as a KGB assassin appears on the scene, and deadly incidents befall several of Wolfes former associates. As Wolfe, Terri, and crew battle these forces, they race to locate the professor and safeguard his invention. Covert plots swirl as mysterious agents arrive to counter their every move. The action culminates in a fast-paced battle to save themselves and the world.
In this thriller, an investigative reporter and a clandestine agent work together to thwart a diabolical plan using ELF waves to take over the world. It is 1981 when college student Kevin Sommers winds up dead under mysterious circumstances in Michigans Upper Peninsula. His sister Terri, an investigative reporter from Chicago, arrives in Marquette, Michigan, to begin looking into his death. She is sure that something is not right; she has no idea how correct she is. Terri learns that Kevin was researching the effects of extremely low frequency waves--also called ELF waves--on people and the environment. Whats more, she discovers that the navy was testing ways to communicate with its submarines using ELF. But Kevins research reveals that ELF waves can affect peoples minds, causing unusual and violent behavior. Meanwhile, Terri encounters Clayton Wolfe, a secret agent with a mysterious past who teams up with her and the local coroner and sheriff to investigate Kevins death. Terri and Clayton feel drawn to each other, but as ELF-induced violence begins to occur all around them, they must race against the clock to find the culprits before they become victims as well.
In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms—Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow—enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America—housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy—now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between “serious” and “popular,” between “high” and “low” culture came to dominate America’s expressive arts. “If there is a tragedy in this development,” Lawrence Levine comments, “it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period—and many have still not regained—their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit.” In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.
In Strong on Music Vera Brodsky Lawrence uses the diaries of lawyer and music lover George Templeton Strong as a jumping-off point from which to explore every aspect of New York City's musical life in the mid-nineteenth century. Formerly a concert pianist, Vera Brodsky Lawrence spent the last third of her life as a historian of American music (she died in 1996). She was editor of The Piano Works of Louis Moreau Gottschalk and The Complete Works of Scott Joplin. On Volume 1: "A marvelous book. There is nothing like it in the literature of American music."—Harold C. Schonberg, New York Times Book Review On Volume 2: "A monumental achievement."—Victor Fell Yellin, Opera Quarterly
Prominent scholars and journalists ponder the question of why, at the beginning of the twenty-first century, the world is more divided than ever between the rich and the poor, between those living in freedom and those under oppression.
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