The Native American rescue artist goes back on the job in “another excellently engineered thriller” from the New York Times–bestselling mystery author (Marilyn Stasio, The New York Times Book Review). After two decades protecting innocent victims on the run, and a year after getting shot on the job, Jane McKinnon, née Whitefield, has settled into the quiet life of a suburban housewife in Amherst, New York. But that all changes when she sees all eight female leaders of the Tonawanda Seneca clan parked in her driveway in two black cars. Jimmy, a childhood friend of Jane’s from the reservation, has been accused of murdering a local white man. But instead of turning himself in, he’s fled, and no one knows where he’s hiding. At the clan mothers’ request, Jane retraces a walking trip she and Jimmy took together when they were fourteen in hopes that he has gone the same way again. But it turns out the police are the least of Jimmy’s problems, and soon enough Jimmy and Jane are on the run together in this “first-rate suspense” novel from the Edgar Award–winning author (Booklist, starred review). “Whitefield is an indelible figure—whip-smart, resourceful, brave and big-hearted.” —The Seattle Times “Jane Whitefield is unique in the annals of detective fiction. She is a throwback to a tribal world, still loyal to the beliefs of the Seneca Indians and still adhering to the call of a lost era. Thomas Perry has once again resurrected a remarkable character who seems imbued with a strange immortality and an unusual morality, and he is to be congratulated.” —The Washington Times

A young girl describes how she and her grandmother make jewelry from all kinds of beads. Includes information about the history of beads.

What Mama Didn t Tell Me About Menopause is a funny and poignant look at a particularily difficult time for a woman. You ll laugh, cry and even have some A-HA moments as you read this book again and again."

Siam at the turn of the 19th century. Four families in the southern peninsula of Siam (Thailand) are tied together by ambition, revenge, love and tragedy.

Eleanor Wiley and Maggie Oman Shannon have taken an ancient practice and made it new. A String and a Prayer recounts the history and symbolism of prayer beads, teaches basic techniques for stringing beads and a host of other objects into prayer beads, and offers a variety of prayers and rituals to use those beads on a daily basis. Beads have appeared throughout history. Prayer beads are used in the spiritual practices of cultures as diverse as the African Masai, Native Americans, Greek and Russian Orthodoxy, as well as the religious rituals of Islam, Hinduism, Christianity, and Buddhism. But prayer is highly personal. By infusing prayer beads with personal associations, we can keep our spirituality fresh. The beads are a device to help build and rebuild meaningful ritual in our lives. With myriad ideas about what makes objects sacred and where to find sacred objects -- from the personal, perhaps beads from a grandmother's broken rosary, to the unusual, maybe seashells from far away found in a thrift store -- A String and a Prayer offers many suggestions for different ways that beads can be made and used, exploring the creative roles they can play in our relationships, ceremonies, and rituals. "You are the expert, trust yourself. Let the instructions be a guide to your own creativity," write the authors.

Game designers, authors, artists, and scholars discuss how roles are played and how stories are created in role-playing games, board games, computer games, interactive fictions, massively multiplayer games, improvisational theater, and other "playable media." Games and other playable forms, from interactive fictions to improvisational theater, involve role playing and story—something played and something told. In Second Person, game designers, authors, artists, and scholars examine the different ways in which these two elements work together in tabletop role-playing games (RPGs), computer games, board games, card games, electronic literature, political simulations, locative media, massively multiplayer games, and other forms that invite and structure play. Second Person—so called because in these games and playable media it is "you" who plays the roles, "you" for whom the story is being told—first considers tabletop games ranging from Dungeons & Dragons and other RPGs with an explicit social component to Kim Newman's Choose Your Own Adventure-style novel Life's Lottery and its more traditional author-reader interaction. Contributors then examine computer-based playable structures that are designed for solo interaction—for the singular "you"—including the mainstream hit Prince of Persia: The Sands of Time and the genre-defining independent production Façade. Finally, contributors look at the intersection of the social spaces of play and the real world, considering, among other topics, the virtual communities of such Massively Multiplayer Online Role Playing Games (MMORPGs) as World of Warcraft and the political uses of digital gaming and role-playing techniques (as in The Howard Dean for Iowa Game, the first U.S. presidential campaign game). In engaging essays that range in tone from the informal to the technical, these writers offer a variety of approaches for the examination of an emerging field that includes works as diverse as George R.R. Martin's Wild Cards series and the classic Infocom game Planetfall. Appendixes contain three fully-playable tabletop RPGs that demonstrate some of the variations possible in the form.

Anthropologists have long been fascinated with the Seminoles and have often remarked upon their ability to adapt to new circumstances while preserving the core features of their traditional culture. This study traces the emergence of these qualities in the late prehistoric and early historic period in the Southeast and demonstrates their influence on the course of Seminole culture history.