Following a lead on the kidnapping of the construction minister's grandson, Officers Ooishi and Akasaka spot a secluded outpost station that shows signs of recent traffic. A little poking around brings them face to face with the boy's abductors, and the criminals aren't going down without a fight. Once the boy is recovered, the dam project is put on hold, and it seems to be a happy ending for everyone.
What could Rika's warning possibly have been about...?
Are you willing to entertain a different vision of the afterlife? Landry Sinclair has a story to tell—listen carefully. I played the professional career woman. Beneath the façade, I was lonely and ashamed.
My plans for upward mobility were squashed when I fell into the hands of a ruth serial killer.
I became entangled in his rich web of heinous acts. After he slipped a date-rape drug in my drink, then brutally tortured me, I awakened to an inescapable nightmarish realm on the wrong side of the mirror. And I was not alone. Will I be forced to idle here for an eternity, peering through the mirror into my former world, helply watching as a homicidal monster butchers woman after woman? We watch life through windows, mirrors, and doors—pay attention. I know because I sing the opus of the dead.
This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritizing isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age Crete as a case study, Hamilakis shows how sensorial memory can help us rethink questions ranging from the production of ancestral heritage to large-scale social change, and the cultural significance of monuments. Tracing the emergence of palaces in Bronze Age Crete as a celebration of the long-term, sensuous history and memory of their localities, Hamilakis points the way to reconstituting archaeology as a sensorial and affective multi-temporal practice. At the same time, he proposes a new framework on the interaction between bodily senses, things, and environments, which will be relevant to scholars in other fields.
Anton Pavlovich Chekhov (1860-1904) was a Russian short story writer and a playwright. His playwriting career produced four classics, while his best short stories are held in high esteem by writers and critics. Chekhov practiced as a doctor throughout most of his literary career: "Medicine is my lawful wife, " he once said, "and literature is my mistress." Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896; but the play was revived to acclaim by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Uncle Vanya and premiered Chekhov's last two plays, Three Sisters and The Cherry Orchard. These four works present a special challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text." His originality consists in an early use of the stream-of-consciousness technique combined with a disavowal of the moral finality of traditional story structure.
The secret origins of the world's greatest super heroes! The defining moments in the history of the DC Universe! The Untold forces that brought these champions together! Exclusive interviews with writer Paul Dini and artist Alex Ross. Preview art and preliminary sketches from JLA Liberty and Justice. Please Note: This book has some wear and is not in mint condition. Ages 9-12