Sophia Harriman owns a successful art gallery in the French Quarter. She's thinking how good life is while she waits for the stop light to turn green. Suddenly her world is turned upside down when a dead body smashes onto her windshield. As Sophia struggles with the identity of the victim, she's forced to confront the shady details surrounding her father's death many years before. With her tattoo-artist renter and her teenage nephew in tow, Sophia sets out to unravel the mystery of the dead man. Along the way, she uncovers an illegal scheme that threatens to bring down the government's rich and powerful, who stop at nothing to make sure she doesn't succeed. With murder nipping at her heels, Sophia runs into treacherous roadblocks at every turn. Her investigation takes her from New Orleans to the hill country of Texas to the Indian reservations of Albuquerque to the posh city of Boca Raton and finally to the halls of justice in Washington D.C. The suspense is palpable and the stakes are high. The killer is determined to win at any cost. He's adamant and resourceful. Will Sophia ever find justice for an elusive killer with friends in high places?

Mr. Lifton and I initially started talking per phone once a month or so around mid-2018, this due to the David Lifton Project, a video interview my students created back in February 2018 - the point being to share his all important research with the next generation of Americans, the youth of our nation; students sharing the importance of Mr. Lifton's work with other students. Though much of the student film covers the thesis of Best Evidence, midway into the film, Mr. Lifton discusses the seeds of Final Charade - which sprouted in March of 1980. Over the next few months, the frequency of our phone conversations grew to about once a week at its height. The origins of Conversations with David S. Lifton: 'Best Evidence' to 'Final Charade' stem from the fact that Mr. Lifton was aging, and I feared his some forty years (1980-2020) of post-Best Evidence research could be lost if he passed suddenly without anyone knowing how to access his research in his trusty but cryptic Apple MacBook Air. If so, Final Charade might never see the light of day. When discussing this with a fellow researcher, he told me emphatically, "Jim, you have to discuss this with him." This work is the result of that conversation.

16-year-old Dusty Everhart breaks into houses late at night, but not because she's a criminal. No, she's a Nightmare. Literally. Dusty is a magical being who feeds on human dreams. Being the only Nightmare at Arkwell Academy, a boarding school for magickind, and living in the shadow of her mother's infamy is hard enough, not to mention the crazy events of the past year. Dusty may have saved the day, but there are many days left in the year, and with an old foe back to seek revenge, she'll need all her strength to defeat him and save her friends. Mindee Arnett thrills again in The Nightmare Charade, the stunning final installment in the Arkwell Academy series. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Arguing that the evidence relied upon by the Warren Commission and the House Assassinations Committee was faked, Lifton describes how the cover-up plot worked and explains the numerous conflicts in the record.

“An intriguing account of two of Nazi Germany’s top architects” and how their work prolonged the war for months—includes hundreds of photos (WWII History). A Selection of the Military Book Club. While Nazi Germany’s temporary ascendancy owed much to military skill, the talent of its engineers not only buoyed the regime but allowed it to survive longer than would normally be expected. This unique work focusing on Fritz Todt and Albert Speer is based on many previously unpublished photographs and artwork from captured Nazi records. Todt was the brilliant builder of the world’s first superhighway system, the Autobahn, and the architect of the German West Wall, the Siegfried Line, that predated the later Atlantic and East Walls. The builder of each of the wartime “Führer Headquarters,” as well as the submarine pens, Todt was killed in a still-mysterious airplane crash that may well have been a Nazi death plot, though he was given a state funeral by Hitler. Todt was succeeded as German Minister of Armaments and War Production by the Führer’s longtime personal architect, Albert Speer, who was described by the Allies after the war as having prolonged the conflict by at least a year. Called a genius by Hitler, Speer designed and built the prewar Nuremberg Nazi Party Congress rally stands and buildings. More importantly, amid the constant rain of Allied bombs and the Soviet advances from the East, Speer managed to keep the German industrial machine running until the spring of 1945, though it was driven ever further underground. He also allocated resources to fortifications and counterattacks, like the V-missile installations, against both West and East, in attempts to stave off defeat. Convicted as a war criminal at Nuremberg, Speer served twenty years at Spandau Prison and remained a Nazi apologist who died in London in 1981 on the anniversary of the German invasion of Poland. Together, Todt and Speer were the pillars that propped up the Third Reich through the vicissitudes of battlefield fortune. With over three hundred photographs, this is the first work that examines their role in history’s most terrible war.

Louis Nowra is regarded as one of Australia's leading dramatists. This book presents an overview of the playwright's life and work and a critical analysis of his plays.

The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's 1947 inaugural exhibition and the 1948 and 1950 Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.

A tale of two torturersâ??Where I Left My Soul is a powerful exploration of guilt and identity in the savagery of the Algerian War. Captain Andre Degorce is reunited with Lieutenant Horace Andreani, with whom he experienced the horrors of combat and imprisonment in Vietnam. Captives now pass from the Captainâ??s hands into Andreani's: one-time victims have become torturers. Andreani has fully embraced his new status, but Degorce has lost all sense of himself, only finding peace when he is with Tahar, a commander in the National Liberation Army. Taharâ??s cell now acts as a confessional for Andreani, with the jailor opening up to his prisoner.