Willoughby sees patterns that others cannot. Applying his brilliance in mathematics, he uncovers puzzles hidden in plain view. A carved symbol over a local barbershop leads him to one Antonio Chavez. Antonio, he learns, is far more than a barber, and introduces him to a clandestine organization where nothing is as it seems. The famous and beautiful Sydney Senoya exhibits a musical talent that can reach beyond the living. James Arthur, proves to have strange healing powers. Even feisty T.K., their crew liaison on the company yacht, is more than she seems. Probing the mysteries of mankind, Willoughby becomes determined to uncover the truth behind the supposed seer, Nostradamus. The new team finds itself lost across the corridors of time and fighting for their lives. Does Willoughby alone, have the skill to save them?

The Absconditus crew is dead and its murderous hijackers have been drowned in the sea-well, mostly. True, the ship is sitting on the bottom of the ocean, but Willoughby has already had to face one of its hijacker goons as a white-eyed zombie. What if there are others? There is little time to consider as every passing hour brings him new challenges. He must find his friends, Antonio and T.K., lost somewhere in the sands of time. He must save James Arthur from the threat of a mysterious scar-faced witch. He must find out what the self-proclaimed Demon Lord, Beelzebub, really wants, and figure out a way to thwart him. He needs to come to terms with his growing feelings for Sydney, whose idea of a rough day is trying to fit 189 designer accessories into a single yacht closet. From the snow capped peaks of the Andes, to the center of the Bermuda triangle, from the Minsk Theater in St. Petersburg, Russia, to The Treasury in Petra, Jordan, the action never stops in this riveting sequel to the award winning Cryptic Spaces: Foresight. Adventure has a new game-and winning is so much more than just staying alive.

She develops the theory of cryptomimesis, a term devised to accommodate the convergence of philosophy, psychoanalysis, and certain "Gothic" stylistic, formal, and thematic patterns and motifs in Derrida's work that give rise to questions regarding writing, reading, and interpretation. Using Edgar Allan Poe's Madeline and Roderick Usher, Bram Stoker's Dracula, and Stephen King's Louis Creed, she illuminates Derrida's concerns with inheritance, revenance, and haunting and reflects on deconstruction as ghost writing. Castricano demonstrates that Derrida's Specters of Marx owes much to the Gothic insistence on the power of haunting and explores how deconstruction can be thought of as the ghost or deferred promise of Marxism. She traces the movement of the "phantom" throughout Derrida's other texts, arguing that such writing provides us with an uneasy model of subjectivity because it suggests that "to be" is to be haunted. Castricano claims that cryptomimesis is the model, method, and theory behind Derrida's insistence that to learn to live we must learn how to talk Awith" ghosts.

Utopia has become a dirty word in recent scholarship on modernism, architecture, urban planning and gender studies. Many utopian designs now appear impractical, manifesting an arrogant disregard for the lived experiences of the ordinary inhabitants who make daily use of global public and private spaces. The essays in Embodied Utopias argue that the gendered body is the crux of the hopes and disappointments of modern urban and suburban utopias of the Americas, Europe and Asia. They reassess utopian projects - masculinist, feminist, colonialist, progressive - of the late nineteenth and early twentieth centuries; they survey the dystopian landscapes of the present; and they gesture at the potential for an embodied approach to the urban future, to the changing spaces of cities and virtual landscapes.

Adventure has a new name! In this latest installment of the award-winning series, everything Willoughby thought he knew, everything he thought he had, shifts. Woven through a tale of deities and dragons, zombies and banshees, across exotic landscapes and familiar timelines, the stakes are high. Someone will be called upon to sacrifice, but who?

Can language and literature cure psychological trauma? If so, what forms do they (have to) take in doing so? When does language hit the wall where the unspeakable mandates silence? And where might literature come in as the rescuing hand by offering forms of expression which are rooted in speech but transcend the merely spoken? This study confronts these issues through the double lenses of Sebastian Barry's œuvre and the complex of dissociative disorders that are at work both in his creative output and the ways in which he fictionalizes dark and traumatic biographical data.

This penetrating book raises questions about how power operates in contemporary society. It explains how the speed of information flows has eroded the separate space needed for critical reflection. It argues that there is no longer an ′outside′ to the global flows of communication and that the critique of information must take place within the information itself. The operative unit of the information society is the idea. With the demise of depth reflection, reflexivity through the idea now operates external to the subject in its circulation through networks of humans and intelligent machines. It is these ideas that make the critique of information possible. This book is a major testament to the prospects of culture, politics and theory in the global information society.