Nothing Ventured heralds the start of a brand new series in the style of Jeffrey Archer’s #1 New York Times bestselling Clifton Chronicles: introducing Detective William Warwick. But this is not a detective story, this is a story about the making of a detective . . . William Warwick has always wanted to be a detective, and decides, much to his father’s dismay, that rather than become a lawyer like his father, Sir Julian Warwick QC, and his sister Grace, he will join London’s Metropolitan Police Force. After graduating from university, William begins a career that will define his life: from his early months on the beat under the watchful eye of his first mentor, Constable Fred Yates, to his first high-stakes case as a fledgling detective in Scotland Yard’s arts and antiquities squad. Investigating the theft of a priceless Rembrandt painting from the Fitzmolean Museum, he meets Beth Rainsford, a research assistant at the gallery who he falls hopelessly in love with, even as Beth guards a secret of her own that she’s terrified will come to light. While William follows the trail of the missing masterpiece, he comes up against suave art collector Miles Faulkner and his brilliant lawyer, Booth Watson QC, who are willing to bend the law to breaking point to stay one step ahead of William. Meanwhile, Miles Faulkner’s wife, Christina, befriends William, but whose side is she really on? This new series introduces William Warwick, a family man and a detective who will battle throughout his career against a powerful criminal nemesis. Through twists, triumph and tragedy, this series will show that William Warwick is destined to become one of Jeffrey Archer’s most enduring legacies.

Here you’ll read the eye-opening, often heartrending life stories of ten people who struggled with some of the most difficult issues human beings face – and who, as they struggled – were drawn out of pain and darkness by the beauty of Catholic teachings about life, marriage, and human sexuality. Dramatic and thought-provoking, these intensely personal stories address virtually every controversial issue surrounding life, including in vitro fertilization, abortion, contraception, and more. Gathered by popular Catholic apologist Patrick Madrid, they turn on its head the oft-heard charge that Catholics embrace the Church’s teachings on life only “because they are Catholics.” These good folks show the opposite: they are Catholics because of the Church’s pro-life teachings. In these pages you’ll meet, among others: AnneMarie S., one of San Francisco’s highest paid call girls, made pro-life – and then Catholic – by a Catholic radio talk show. Leticia A., the sexually-abused Texas Baptist teenager, whose life of wild promiscuity was brought abruptly to an end by her need for true marriage, which she found only in the Church. Heather S., the pregnant teenager whose soul was awakened to the Faith by ten pro-life words from Pope John Paul II. Jewels G., the post-abortion pro-abortion crusader, whose failed suicide left her alive long enough to meet good Catholic women who explained the Church’s teachings, turned her pro-life, and won her to the Faith. Leila M., the contracepting, pro-sterilization wife whose views were overthrown by the stark contrast between Planned Parenthood and the sweet memory of the wise pro-life teachings of her college ethics teacher, good Father Ryan. Chris A., the sexually profligate Jewish lawyer, who too late came to see the evil of the abortions he enabled, and now works as a Catholic apologist seeking to end this American holocaust. Plus others, who came into the Church after being “Surprised by Life.”

Ten former Protestants tell why they chose the Catholic Church.

Autobiographical account of a well-known Victorian fur retailing personality and entrepreneur which tells of her induction into the family's retailing business, the strain of operating during the recession, and the eventual collapse of the firm. Includes advice on dealing with change and motivating oneself and others, and a list of further reading.

Long awaited after No Future, and making queer theory controversial again, Lee Edelman’s Bad Education proposes a queerness without positive identity—a queerness understood as a figural name for the void, itself unnamable, around which the social order takes shape. Like Blackness, woman, incest, and sex, queerness, as Edelman explains it, designates the antagonism, the structuring negativity, preventing that order from achieving coherence. But when certain types of persons get read as literalizing queerness, the negation of their negativity can seem to resolve the social antagonism and totalize community. By translating the nothing of queerness into the something of “the queer,” the order of meaning defends against the senselessness that undoes it, thus mirroring, Edelman argues, education’s response to queerness: its sublimation of irony into the meaningfulness of a world. Putting queerness in relation to Lacan’s “ab-sens” and in dialogue with feminist and Afropessimist thought, Edelman reads works by Shakespeare, Jacobs, Almodóvar, Lemmons, and Haneke, among others, to show why queer theory’s engagement with queerness necessarily results in a bad education that is destined to teach us nothing.