Emily runs a successful bistro in Humboldt County, California, where she lives with her handsome boyfriend, Jeff, a volunteer firefighter. A lot of her best customers are in the cannabis business, but so what? It's true that the bistro was funded by drug money, and sure, firefighting isn't really Jeff's main job--that would be flying Humboldt's finest weed to out-of-state customers. And sure, he isn't really Emily's boyfriend, more like the guy she's stuck with by circumstance. Actually, his name isn't Jeff, it's Danny; and Emily's real name is Michelle Mason, although no one can ever know that. She's on the run from her past--which has just caught up with her in its ugliest form: Gary, an ex-CIA and black ops agent who got her and Danny into this whole mess, and who Michelle should have killed when she had the chance. When Gary shows up at Michelle's restaurant the same night Danny is arrested by the DEA during what should have been a routine flight, Michelle knows they've been set up. Danny's life is on the line: he's dangling bait in a maximum-security Houston jail, prey to Gary and whatever shadowy powers Gary works for. Gary will help Michelle out--get Danny out of this jam--if she'll just do him one little favor: take a job in Houston working for the figurehead of a multimillion-dollar anti-crime nonprofit. But Michelle knows whatever she's getting into isn't what it seems. All she can do is hope she figures out what Gary's real endgame is before she--or someone close to her--pays the ultimate price. Lisa Brackmann has written a chilling and thought-provoking thriller that reveals the unsavory link between marijuana legalization and the big-money politics of the United States' private prison industry"--
An electrifying thriller debut set in modern China, in a world of artists, paranoid revolutionaries and government conspiracies... First she tried to start over. Now she's just trying to survive. ON HER OWN Ellie Cooper's tour of duty in Iraq left her with a damaged leg, a faithless husband, and a desperate need to get away. In Beijing, she falls for charismatic Chinese artist Lao Zhang but, after the arrival of a mysterious guest, he disappears... ON THE RUN Her cheating husband, Trey, tracks her down to demand a divorce. But far more disturbing are the Chinese and American agents who begin to hound Ellie for Lao Zhang's whereabouts. AND A LONG WAY FROM HOME When things suddenly turn threatening, Ellie turns fugitive, convinced there's a hidden agenda - one that involves something she should never have seen in Iraq - something that could get her killed. Now she's alone, in a country she barely knows, falling down a rabbit hole of conspiracies from which she can't escape...
Emily runs a successful bistro in Humboldt County, California, where she lives with her handsome boyfriend, Jeff, a volunteer firefighter. A lot of her best customers are in the cannabis business, but so what? It's true that the bistro was funded by drug money, and sure, firefighting isn't really Jeff's main job--that would be flying Humboldt's finest weed to out-of-state customers. And sure, he isn't really Emily's boyfriend, more like the guy she's stuck with by circumstance. Actually, his name isn't Jeff, it's Danny; and Emily's real name is Michelle Mason, although no one can ever know that. She's on the run from her past--which has just caught up with her in its ugliest form: Gary, an ex-CIA and black ops agent who got her and Danny into this whole mess, and who Michelle should have killed when she had the chance. When Gary shows up at Michelle's restaurant the same night Danny is arrested by the DEA during what should have been a routine flight, Michelle knows they've been set up. Danny's life is on the line: he's dangling bait in a maximum-security Houston jail, prey to Gary and whatever shadowy powers Gary works for. Gary will help Michelle out--get Danny out of this jam--if she'll just do him one little favor: take a job in Houston working for the figurehead of a multimillion-dollar anti-crime nonprofit. But Michelle knows whatever she's getting into isn't what it seems. All she can do is hope she figures out what Gary's real endgame is before she--or someone close to her--pays the ultimate price. Lisa Brackmann has written a chilling and thought-provoking thriller that reveals the unsavory link between marijuana legalization and the big-money politics of the United States' private prison industry"--
This book examines the late sixteenth- and early seventeenth-century engagement with a crucial part of Britain's past, the period between the withdrawal of the Roman legions and the Norman Conquest. A number of early modern plays suggest an underlying continuity, an essential English identity linked to the land and impervious to change. This book considers the extent to which ideas about early modern English and British national, religious, and political identities were rooted in cultural constructions of the pre-Conquest past.
Evidence base in 2015 remains a subject of controversy for surgeons related to its application in surgery that cannot be approached as it is in medical evidence. Academic surgeons acknowledge that evidence base is necessary and private practitioners know it is woven into the fabric of their practice. Dr. Lisa Ishii and Dr. Travis Tollefson, editors of this publication, are at the forefront of clinical use of and research into evidence based surgery. The Oxford Centre system of evidence is used for this issue. Currently, evidence is dominant in the reconstructive aspect, moreso than the cosmetic aspect; as such, this resource focuses on the nerve and microvascular procedures. Topics include Facial vascular anomalies, Cleft lip and palate; Trauma; Facial reanimation; System reviews and metanalyses; and Skin care, Laser treatments; and Rhinoplasty. Audience for this resource is facial plastic surgeons, otolaryngologists, plastic surgeons, laser therapists, dermatologists, and skin researchers.
This issue of Facial Plastic Surgery Clinics, guest edited by Drs. Sherard Tatum and Lisa Morris, is devoted to Cranio-facial Surgery for the Facial Plastic Surgeon. Articles in this issue include: Genetic Evaluation for Craniofacial Conditions; Early Airway Intervention for Craniofacial Anomalies; Feeding and Speech Evaluation for Craniofacial Anomalies; Cleft Lip Repair, Nasoalveolar Molding and Primary Rhinoplasty; Cleft Palate Repair, Gingivoperiostoplasty and Alveolar Bone Grafting; Velopharyngeal Dysfunction Evaluation and Treatment; Orthodontic Care for Craniofacial Anomalies; Intermediate and Definitive Cleft Rhinoplasty; Orthognathic Surgery; Craniofacial Microsomia; Nonsyndromic Craniosynostosis and Deformational Head Shape Disorders; Syndromic Craniosynostosis; Tessier Clefts and Hypertelorism; Vascular Lesions; Facial Nerve Rehabilitation; Microtia; Craniomaxillofacial Tumors; and Reconstruction and Craniomaxillofacial Trauma.
Although representations of medieval Christians and Christianity are rarely subject to the same scholarly scrutiny as those of Jews and Judaism, "the Christian" is as constructed a term, category, and identity as "the Jew." Medieval Christian authors created complex notions of Christian identity through strategic use of representations of Others: idealized Jewish patriarchs or demonized contemporary Jews; Woman represented as either virgin or whore. In Western thought, the Christian was figured as spiritual and masculine, defined in opposition to the carnal, feminine, and Jewish. Women and Jews are not simply the Other for the Christian exegetical tradition, however; they also represent sources of origin, as one cannot conceive of men without women or of Christianity without Judaism. The bifurcated representations of Woman and Jew found in the literature of the Middle Ages and beyond reflect the uneasy figurations of women and Jews as both insiders and outsiders to Christian society. Gender and Jewish Difference from Paul to Shakespeare provides the first extended examination of the linkages of gender and Jewish difference in late medieval and early modern English literature. Focusing on representations of Jews and women in Chaucer's Canterbury Tales, selections from medieval drama, and Shakespeare's Merchant of Venice, Lampert explores the ways in which medieval and early modern authors used strategies of opposition to—and identification with—figures of Jews and women to create individual and collective Christian identities. This book shows not only how these questions are interrelated in the texts of medieval and early modern England but how they reveal the distinct yet similarly paradoxical places held by Woman and Jew within a longer tradition of Western thought that extends to the present day.
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