In this sequel to The Use of Power, Damon Hawkers fiance is kidnapped in an attempt to force him to reveal valuable information. In the process of rescuing her, he uncovers a plot thatif allowed to reach fruitionwill result in the mass murder of thousands of Americans. He is then forced by circumstances to assume a role that he detests in order to foil the plot and avoid causing a disastrous war between Russia and the United States. His efforts to that end lead to exotic dangers and take him on out-of-this-world adventures.

Five years ago Wren McAllister had it all, a successful career, a beautiful wife, and a loving family. Returning to his hometown for a funeral, he came back a changed man, slowly drifting away from his wife and kids. His choices during that visit had unknowingly set of a wave of events that now threatens his family. Now five years later he is in race against time to save them, he must reveal his dark secret to his loved ones. Can they deal with the knowledge of his past, or will they suffer because of it.

Coming home from Afghanistan was supposed to be something great. That ended when I met tall, dark and handsome in a bar and wound up in a dumpster sporting a nice set of fangs and my life flipped on its head. Now I'm a messenger for Hermes Courier Service trying to make enough to support my ice cream habit while staying below vampire radar. When this newest job of mine goes disastrously awry, it puts me on the hook to be indentured to a sorcerer for the next fifty years unless I can find a way to fix things. What's hidden can't stay in the shadow's forever and my life will never be the same.

Daringly realistic and artfully mediated by past and present, Claudia Emerson's Secure the Shadow contains historical pieces as well as poems centering on the deaths of the poet's brother and father. Emerson covers all aspects of the tragedies that, as Keats believed, contribute to our human collective of Soul-making, in which each death accrues into an immortal web of ongoing love and meaning for the living. Emerson's unwavering gaze shows that loss cannot be eluded, but can be embraced in elegies as devastating as they are beautiful. The macabre title poem refers to the old custom of making daguerreotypes, primitive photographs, of deceased loved ones. Other striking poems describe animal deaths -- mysterious calf killings, a hog slaughter, the burial of a dead jay, "identifiable / but light, dry, its eyes vacant orbits." Death, as the speaker's heart and mind instruct her, exists in a shadow world. When the body disappears, the shadow also flees. By securing the shadow, the poet finds a representation of the dead's soul, a soul always linked to the body. Hence, Emerson's attention to the minute details of the body's repose -- reflected in the long, related sequence of refrained poems -- never allows its memory to fade.

The highly awaited new novel from the internationally bestselling author of The German Midwife (also published as A Woman of War).

Breaking up is hard to do—so why not pay someone to do it for you? Twelve-year-old Quentin never asked to be the Heartbreak Messenger. It just kind of happened, and he can't let a golden opportunity pass him by. The valuable communication service he offers is simple: He delivers breakup messages. For a small fee, he will deliver that message to your soon-to-be ex. If you order the deluxe package, he'll even throw in some flowers and a box of chocolates. You know . . . to soften the blow. At first, Quentin's entrepreneurial brainchild is surprisingly successful, which is great, because he suspects his mom, who works as a car mechanic, is worried about money. But as he interacts with clients, message recipients, and his best friend, Abigail, it doesn't take long for him to wonder if his own heart will remain intact. In The Heartbreak Messenger by Alexander Vance, Quentin discovers that the game of love and the emotions that go with it are as complicated as they come—even for an almost-innocent bystander.

As legend has it, shadows once roamed the earth as their own beings. Feeding of human error, they bound themselves to their mortal counterparts. Coran Selvinson, a young mason's apprentice, was not aware of this at all when he found himself thrown into an adventure teeming with peril and reckless abandon. Journeying to avenge a great wrongdoing, Coran found himself face to face against these shadows. The Shadow's Reign tells of the great quest undertaken by three adolescents, Coran, Balan, and Alaine, in search of vengeance and understanding.

DON’T MISS BRIDGE OF CLAY, MARKUS ZUSAK’S FIRST NOVEL SINCE THE BOOK THIEF AND AN UNFORGETTABLE AND SWEEPING FAMILY SAGA. From the author of the extraordinary #1 New York Times bestseller The Book Thief, I Am the Messenger is an acclaimed novel filled with laughter, fists, and love. A MICHAEL L. PRINTZ HONOR BOOK FIVE STARRED REVIEWS Ed Kennedy is an underage cabdriver without much of a future. He's pathetic at playing cards, hopelessly in love with his best friend, Audrey, and utterly devoted to his coffee-drinking dog, the Doorman. His life is one of peaceful routine and incompetence until he inadvertently stops a bank robbery. That's when the first ace arrives in the mail. That's when Ed becomes the messenger. Chosen to care, he makes his way through town helping and hurting (when necessary) until only one question remains: Who's behind Ed's mission?

Joe Henderson offers a critique of the assumption that poetic form in the book of Jeremiah indicates authenticity. This assumption undergirds Bernhard Duhm's reconstructions (1901) of the prophet's biography and the book's composition, the basic components of the dominant paradigm for twentieth-century Jeremiah scholarship. Henderson argues that Duhm's model is best understood as an attempt to bring the book into conformity with nineteenth-century systems of aesthetics, historiography, and theology-and with the Grafian reconstruction of the history of Israel's religion. The accord between these systems and Duhm's assumption about poetic form has less to do with their common grasp of the historical reality of Hebrew prophecy than with their common roots in the Romantic theory of prophetic and poetic inspiration-a theory forged by Robert Lowth in his exposition (1752) of the poetry he found in the prophetic books. Henderson contends that continued adherence to Duhm's foundational assumption has held back recent attempts to “move beyond Duhm” and overcome the fragmentation of the book entailed by his model. Rhetorical critics, who maintain that Jeremiah 2–10 is unified by the structural devices of the historical prophet, and redaction critics, who maintain that Jeremiah 11–20 is unified by the theological agenda of Deuteronomistic editors, both rely on the assumed authenticity of the poetry. Henderson observes that although these scholars have uncovered evidence of dramatic presentation in Jeremiah 2–20, they have failed to see that the dramatic nature of these chapters undermines their use for Duhm's historical-critical projects and reveals what actually unifies them-narrative progression.