ORIGINALLY PUBLISHED 2005...re-released for print and eBooks EVERYTHING HAS A PRICE. . . To dig up the truth behind the mysterious death of a senator's daughter, private investigator Rachel Anderson is going back to school. Passing herself off as a transfer student at the small, prestigious college the troubled girl last attended--funded by the powerful Shepherd's Cross Ministry--Rachel finds the secluded campus almost too idyllic, and the girls invited to participate in the "Eve's Circle" honors group too perfect. Too feminine. Too obedient. Not only obedient--completely submissive. ESPECIALLY PERFECTION... Before long she realizes that some of the female students recruited to Shepherd's Cross have been abducted and brainwashed, not as the perfect wives Rachel imagined, but the perfect partners for men whose appetites are dark and sexual. But putting an end to the shocking operation requires more than just a cover--and it means trusting the brooding Elijah Trent, a CIA operative also working the campus from the inside. Together, they plan to expose the ministry's unspeakable secret, a crime which reaches outside U.S. borders and into the realm of pure evil. . .

Explores the ethical issues posed by genetic engineering.

The robot Pentser is the last of his kind. Technology is absolete. It only exists in museums and the collections of oddballs like Govil. Govil is a 19th century romantic living in a 31st century uptopia.

Archaeology, the science in charge of studying ancient cultures, is without a doubt one of the most alluring professions in today's academic world. It is a versatile and complex discipline requiring a lot of skill expertise from both students and specialists, including the efficient management of team of coworkers, logistics, resources, etc. Project Management for Archaeology is a first approach to students and inexperienced archaeologists striving to better organize, lead, and execute an archaeological project. It also offers great insight and strategies to experienced and Òold-schoolÓ researchers in order to improve efficiency, leadership, and organizational skills, following the most effective management techniques in the market. Presented with a flexible approach that accommodates all types of archaeological research (from academic to rescue and salvage projects), Project Management for Archaeology is meant to be a practical handbook to be used all along the lifetime of any archaeological project.

"This book brings together two pieces of writing. In the first, "After Eve Kosofsky Sedgwick," Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick's work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick's later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it. "Come As You Are," the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999-2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the "something" that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, "Floating Columns/In the Bardo," that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg's essay explores"--Publisher's description

An examination of why so few people suffering from environmental hazards and pollution choose to participate in environmental justice movements. In the coal-mining region of Central Appalachia, mountaintop-removal mining and coal-industry-related flooding, water contamination, and illness have led to the emergence of a grassroots, women-driven environmental justice movement. But the number of local activists is small relative to the affected population, and recruiting movement participants from within the region is an ongoing challenge. In Fighting King Coal, Shannon Elizabeth Bell examines an understudied puzzle within social movement theory: why so few of the many people who suffer from industry-produced environmental hazards and pollution rise up to participate in social movements aimed at bringing about social justice and industry accountability. Using the coal-mining region of Central Appalachia as a case study, Bell investigates the challenges of micromobilization through in-depth interviews, participant observation, content analysis, geospatial viewshed analysis, and an eight-month “Photovoice” project—an innovative means of studying, in real time, the social dynamics affecting activist involvement in the region. Although the Photovoice participants took striking photographs and wrote movingly about the environmental destruction caused by coal production, only a few became activists. Bell reveals the importance of local identities to the success or failure of local recruitment efforts in social movement struggles, ultimately arguing that, if the local identities of environmental justice movements are lost, the movements may also lose their power.