WHEN A MAN’S PARTNER IS KILLED... So begins one of the most famous quotations in all of crime fiction. And just as the murder of Sam Spade's partner, Miles Archer, sets off the quest in the great Dashiell Hammett's greatest novel, so the murder of Hobart Lindsey's partner, Cletus Berry, sets off the quest in The Silver Chariot Killer, the sixth of Richard A. Lupoff's classic series of "Killer" mysteries. It's Christmas week in New York and Cletus Berry's body has been found literally frozen in the ice in an alley in Hell's Kitchen, a black circle marking the entry wound of the bullet that scrambled Berry's brain and ended his life. This wouldn’t normally be Lindsey's case, but "When a man's partner is killed, he's supposed to do something about it." Earlier novels in the series built a popular following for Hobart Lindsey and Marvia Plum. Now Lindsey is on his own and on alien turf, and the action grows darker as Lindsey's world grows colder. The Silver Chariot Killer is a case unlike any that Lindsey has faced in the past, and unlike any that the reader is likely to have encountered until now. Great crime fiction by a master storyteller!

A story of one abandoned 1880â€TMs young lady of the times who struggled to rise from the depths of degradation to obtain the silver chariot of her dreams. Through the eyes of Nina (Nicole), we see again the city she saw and experience her heartaches & dreams. We feel her pain when, to save his soul, she walks away from the only man she can ever love. Under threat of her life she makes a dash to freedom in seek of a new future, love & happiness.

Formerly known as: Atticus the storyteller's 100 Greek myths.

A hidden door. A magical staircase. Discover the world of Droon! Galen is back, and the kids are going to need his help. But first, they have to find him! Eric and his friends soon learn that the old wizard is trapped in the city of Parthnoop, on the dark side of the moon, and only Queen Zara's flying chariot will take them there. But with genies, urn-riders, and secrets around every turn, can they reach Galen in time? Or will they be trapped in Parthnoop, too?

Patrick White's brilliant 1961 novel, set in an Australian suburb, intertwines four deeply different lives. An Aborigine artist, a Holocaust survivor, a beatific washerwoman, and a childlike heiress are each blessed—and stricken—with visionary experiences that may or may not allow them to transcend the machinations of their fellow men. Tender and lacerating, pure and profane, subtle and sweeping, Riders in the Chariot is one of the Nobel Prize winner's boldest books.

Face Hermes, Narcissus, Pan and the Fates in this world of greek Beasts and Heroes.

Sweet Chariot is a pathbreaking analysis of slave families and household composition in the nineteenth-century South. Ann Malone presents a carefully drawn picture of the ways in which slaves were constituted into families and households within a community and shows how and why that organization changed through the years. Her book, based on massive research, is both a statistical study over time of 155 slave communities in twenty-six Louisiana parishes and a descriptive study of three plantations: Oakland, Petite Anse, and Tiger Island. Malone first provides a regional analysis of family, household, and community organization. Then, drawing on qualitative sources, she discusses patterns in slave family household organization, identifying the most significant ones as well as those that consistantly acted as indicators of change. Malone shows that slave community organization strongly reflected where each community was in its own developmental cycle, which in turn was influenced by myriad factors, ranging from impersonal economic conditions to the arbitrary decisions of individual owners. She also projects a statistical model that can be used for comparisons with other populations. The two persistent themes that Malone uncovers are the mutability and yet the constancy of Louisiana slave household organization. She shows that the slave family and its extensions, the slave household and community, were far more diverse and adaptable than previously believed. The real strength of the slave comunity was its multiplicity of forms, its tolerance for a variety of domestic units and its adaptability. She finds, for example, that the preferred family form consisted of two parents and children but that all types of families and households were accepted as functioning and contributing members of the slave community. "Louisiana slaves had a well-defined and collective vision of the structure that would serve them best and an iron determination to attain it, " Malone observes. "But along with this constancy in vision and perseverance was flexibility. Slave domestic forms in Louisiana bent like willows in the wind to keep from shattering. The suppleness of their forms prevented domestic chaos and enabled most slave communities to recover from even serious crises."

Robert Graves begins anew the tumultuous life of the Roman who became emporer in spite of himself. Captures the vitality, splendor, and decadence of the Roman world at the point of its decline.