The first terrifying chapter of the Dead Texas spinoff. It's Day Zero and the Texas zombie virus is quickly spreading throughout the nation. In a desperate race against the clock, two special forces teams are given an impossible mission. Turn the football stadium in Charlotte into a fortress, and rescue some of the brightest minds in the world to help with the coming war. Dead America: The First Week focuses on the national response to the Texas zombie outbreak. There will be multiple mini-series within The First Week focused on several regions of the nation and how they are dealing with the crisis.

Examines how Day of the Dead celebrations among America's Latino communities have changed throughout history, discussing how the traditional celebration has been influenced by mass media, consumer culture, and globalization.

Digte. Addresses race, class, sexuality, faith, social justice, mortality, and the challenges of living HIV positive at the intersection of black and queer identity

Contains over 750 alphabetically-arranged entries that provide information about the rock group Grateful Dead, featuring profiles of band members and associated musicians, filmmakers, photographers, composers, and others, and descriptions of the band's albums and solo releases.

From the author of Pulitzer-nominated The Devil’s Highway and national bestseller The Hummingbird’s Daughter comes an exquisitely composed collection of poetry on life at the border. Weaving English and Spanish languages as fluidly as he blends cultures of the southwest, Luis Urrea offers a tour of Tijuana, spanning from Skid Row, to the suburbs of East Los Angeles, to the stunning yet deadly Mojave Desert, to Mexico and the border fence itself. Mixing lyricism and colloquial voices, mysticism and the daily grind, Urrea explores duality and the concept of blurring borders in a melting pot society.

Winner of the Bolton-Johnson Prize Winner of the Utley Prize Winner of the Distinguished Book Award, Society for Military History “The Dead March incorporates the work of Mexican historians...in a story that involves far more than military strategy, diplomatic maneuvering, and American political intrigue...Studded with arresting insights and convincing observations.” —James Oakes, New York Review of Books “Superb...A remarkable achievement, by far the best general account of the war now available. It is critical, insightful, and rooted in a wealth of archival sources; it brings far more of the Mexican experience than any other work...and it clearly demonstrates the social and cultural dynamics that shaped Mexican and American politics and military force.” —Journal of American History It has long been held that the United States emerged victorious from the Mexican–American War because its democratic system was more stable and its citizens more loyal. But this award-winning history shows that Americans dramatically underestimated the strength of Mexican patriotism and failed to see how bitterly Mexicans resented their claims to national and racial superiority. Their fierce resistance surprised US leaders, who had expected a quick victory with few casualties. By focusing on how ordinary soldiers and civilians in both countries understood and experienced the conflict, The Dead March offers a clearer picture of the brief, bloody war that redrew the map of North America.

Evoking Krakauer's Into the Wild, Dan Schultz tells the extraordinary true story of desperado survivalists, a brutal murder, and vigilante justice set against the harsh backdrop of the Colorado wilderness On a sunny May morning in 1998 in Cortez, Colorado, three desperados in a stolen truck opened fire on the town cop, shooting him twenty times; then they blasted their way past dozens of police cars and disappeared into 10,000 square miles of the harshest wilderness terrain on the North American continent. Self-trained survivalists, the outlaws eluded the most sophisticated law enforcement technology on the planet and a pursuit force that represented more than seventy-five local, state, and federal police agencies with dozens of swat teams, U.S. Army Special Forces, and more than five hundred officers from across the country. Dead Run is the first in-depth account of this sensational case, replete with overbearing local sheriffs, Native American trackers, posses on horseback, suspicion of vigilante justice and police cover-ups, and the blunders of the nation's most exalted crime-fighters pursuing outlaws into territory in which only they could survive.

The murderous one-percent are playing their last deadly card. They are not sure if it will work or not. They are scared shitless and hiding like spineless cowards even though they have hired armed soldiers to protect them. Out there amid the developing conflagration, a few unprotected yet extremely talented and dedicated men and women have the guns, the survival skills, and the terrorist death squad training to exact horrible revenge against whoever their tormentors might be. You are about to travel into a mind zone where you have never been. Hold on tightly. You are now nothing more than a helpless page turner. You are unable to stop yourself from ravenously ingesting page after page of this indescribable trip into madness.

Surrounded by a horde of zombies, Terrell must get creative to save himself and the other survivors. At the Charlotte fortress, Frank and his team's much deserved break is cut short by a new, unexpected threat. Dead America: The First Week focuses on the national response to the Texas zombie outbreak. There will be several mini-series within The First Week focused on several regions of the nation and how they are dealing with the crisis.

Gerald Vizenor gives life to traditional tribal stories by presenting them in a new perspective: he challenges the idyllic perception of rural life, offering in its stead an unusual vision of survival in the cities-the sanctuaries for humans and animals. It is a tribal vision, a quest for liberation from forces that would deny the full realization of human possibilities. In this modern world his characters insist upon survival through an imaginative affirmation of the self. In Dead Voices Vizenor, using tales drawn from traditional tribal stories, illuminates the centuries of conflict between American Indians and Europeans, or "wordies." Bagese, a tribal woman transformed into a bear, has discovered a new urban world, and in a cycle of tales she describes this world from the perspective of animals-fleas, squirrels, mantis, crows, beavers, and finally Trickster, Vizenor’s central and unifying figure. The stories reveal unpleasant aspects of the dominate culture and American Indian culture such as the fur trade, the educational system, tribal gambling, reservation life, and in each the animals, who represent crossbloods, connect with their tribal traditions, often in comic fashion. As in his other fiction, Vizenor upsets our ideas of what fiction should be. His plot is fantastic; his story line is a roller-coaster ride requiring that we accept the idea of transformation, a key element in all his work. Unlike other Indian novelists, who use the novel as a means of cultural recovery, Vizenor finds the crossblood a cause for celebration.