Born of bloodshed, a prolific stain, fed by the sins of earliest man…. The Simmons moved into 228 Briar Street. With two growing children needing a stable routine and a house to call home, Marc and Claire settled into the old red brick, unaware of the neighborhood’s dirty little secret. In the dark and unfamiliar depths of the basement it lurks. It desires to manipulate the family into destructive chaos as it has countless times past and as far back as there were settlers in this plot of land, feed upon both flesh and the ecstasy of its dark influence. And not just in this house. It is old, mischievous, and inherently evil. It is...THE STAIN.

As I drew, the house felt eerie in its silence. . . . A strange sense stole over me, as though Bland and I were two actors on stage, our movements spotlighted, black emptiness between us. But that darkness grew smaller as the space between us shrank. I did not know if this sense was due to my immersion in Bland’s face and mind and world, or to my fear of his threatening presence. Or both . . . The nerves between my shoulder blades began to tingle. Help me, God. Please. For twenty years, a killer has eluded capture for a brutal double murder. Now, forensic artist Annie Kingston has agreed to draw the updated face of Bill Bland for the popular television show American Fugitive. To do so, Annie must immerse herself in Bland’s traits and personality. A single habitual expression could alter the way his face has aged. But as she descends into his criminal mind and world, someone is determined to stop her. At any cost. Annie’s one hope is to complete the drawing and pray it leads authorities to Bland—before Bland can get to her. Brandilyn Collins is the bestselling author of Brink of Death, Eyes of Elisha, and other novels. She and her family divide their time between the California Bay Area and Coeur d’Alene, Idaho. Visit her website at www.brandilyncollins.com.

As a group of organisms that are too small to see and best known for being agents of disease and death, microbes are not always appreciated for the numerous supportive and positive contributions they make to the living world. Designed to support a course in microbiology, Microbiology: A Laboratory Experience permits a glimpse into both the good and the bad in the microscopic world. The laboratory experiences are designed to engage and support student interest in microbiology as a topic, field of study, and career. This text provides a series of laboratory exercises compatible with a one-semester undergraduate microbiology or bacteriology course with a three- or four-hour lab period that meets once or twice a week. The design of the lab manual conforms to the American Society for Microbiology curriculum guidelines and takes a ground-up approach -- beginning with an introduction to biosafety and containment practices and how to work with biological hazards. From there the course moves to basic but essential microscopy skills, aseptic technique and culture methods, and builds to include more advanced lab techniques. The exercises incorporate a semester-long investigative laboratory project designed to promote the sense of discovery and encourage student engagement. The curriculum is rigorous but manageable for a single semester and incorporates best practices in biology education.

Few bands in the past three decades have proven as affecting or exciting as the Misfits, the ferocious horror punk outfit that lurked in the shadows of suburban New Jersey and released a handful of pivotal underground recordings during their brief, tumultuous time together. Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake. This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century. Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

Theological Stains offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.' Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel.