Ugly Prey tells the riveting story of poor Italian immigrant Sabella Nitti, the first woman ever sentenced to hang in Chicago, in 1923, for the alleged murder of her husband. Journalist Emilie Le Beau Lucchesi leads readers through the case, showing how, with no evidence and no witnesses, Nitti was the target of an obsessed deputy sheriff and the victim of a faulty legal system. She was also—to the men who convicted her and reporters fixated on her—ugly. For that unforgiveable crime, the media painted her as a hideous, dirty, and unpredictable immigrant, almost an animal. Featuring two other fascinating women—the ambitious and ruthless journalist who helped demonize Sabella through her reports and the brilliant, beautiful, 23-year-old lawyer who helped humanize her with a jailhouse makeover—Ugly Prey is not just a page-turning courtroom drama but also a thought-provoking look at the intersection of gender, ethnicity, and class within the American justice system.

THE NEW YORK TIMES BESTSELLER Lucas Davenport’s first case as a U.S. Marshal sends him into uncharted territory in the thrilling new novel in the #1 New York Times-bestselling series. The man was smart and he didn’t mind killing people. Welcome to the big leagues, Davenport. Thanks to some very influential people whose lives he saved, Lucas is no longer working for the Minnesota Bureau of Criminal Apprehension, but for the U.S. Marshals Service, and with unusual scope. He gets to pick his own cases, whatever they are, wherever they lead him. And where they’ve led him this time is into real trouble. A Biloxi, Mississippi, drug-cartel counting house gets robbed, and suitcases full of cash disappear, leaving behind five bodies, including that of a six-year-old girl. Davenport takes the case, which quickly spirals out of control, as cartel assassins, including a torturer known as the “Queen of home-improvement tools” compete with Davenport to find the Dixie Hicks shooters who knocked over the counting house. Things get ugly real fast, and neither the cartel killers nor the holdup men give a damn about whose lives Davenport might have saved; to them, he’s just another large target. Filled with his trademark razor-sharp plotting and some of the best characters in suspense fiction, Golden Prey is further reason why “Sandford has always been at the top of any list of great mystery writers” (The Huffington Post).

Lucas Davenport tracks a prolific serial killer in the newest nail-biter by #1 New York Times-bestselling author John Sandford. Clayton Deese looks like a small-time criminal, muscle for hire when his loan shark boss needs to teach someone a lesson. Now, seven months after a job that went south and landed him in jail, Deese has skipped out on bail, and the U.S. Marshals come looking for him. They don't much care about a low-level guy--it's his boss they want--but Deese might be their best chance to bring down the whole operation. Then, they step onto a dirt trail behind Deese's rural Louisiana cabin and find a jungle full of graves. Now Lucas Davenport is on the trail of a serial killer who has been operating for years without notice. His quarry is ruthless, and--as Davenport will come to find--full of surprises . . .

One man in the future is a killer. An assassin raised from birth. But he no longer wants to take orders from any organization. He is on his own mission now. To kill his friends, his family, his old life entirely, his past. His is on a mission to kill the top twenty government assassins who have more power than anybody else. Untouchable, all powerful killers who are protected by the government to ensure peace, power, and fear. The book follows this man near the end of his journey where he has to face his past along with a regretful doctor and a vengeful revolutionary girl. These three take part in this futuristic adventure and try to change the world and themselves in the process. They are all affected by this one mans mission, one mans struggle. One mans fight. One killer named Main. Twenty-one killers in total. Only one will live. Will you find out who?

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The red-haired emerald-green eyed Irish American is waiting to die on a mountain-top… under a starlit sky in front of a blazing fire, surrounded by his three imaginary friends: the moth, the chameleon, and the eagle. As he phlegmatically looks back at the adventurous, globe-trotting life he has led, his diary entries, which he had penned during the course of his journey, take us through the important milestones in his life. What could have possibly led him to where he is now? Why is he contemplating suicide? Will he take the final plunge? Predator & Prey looks at life as Yin & Yang. It artistically and philosophically explores psychology, humanity, God, and ultimately, space, time, and the universe, with the aim of making sense of what we call life.

Ugly as sin, the ugly duckling—or maybe you fell out of the ugly tree? Let’s face it, we’ve all used the word “ugly” to describe someone we’ve seen—hopefully just in our private thoughts—but have we ever considered how slippery the term can be, indicating anything from the slightly unsightly to the downright revolting? What really lurks behind this most favored insult? In this actually beautiful book, Gretchen E. Henderson casts an unfazed gaze at ugliness, tracing its long-standing grasp on our cultural imagination and highlighting all the peculiar ways it has attracted us to its repulsion. Henderson explores the ways we have perceived ugliness throughout history, from ancient Roman feasts to medieval grotesque gargoyles, from Mary Shelley’s Frankenstein to the Nazi Exhibition of Degenerate Art. Covering literature, art, music, and even the cutest possible incarnation of the term—Uglydolls—she reveals how ugliness has long posed a challenge to aesthetics and taste. She moves beyond the traditional philosophic argument that simply places ugliness in opposition to beauty in order to dismantle just what we mean when we say “ugly.” Following ugly things wherever they have trod, she traverses continents and centuries to delineate the changing map of ugliness and the profound effects it has had on the public imagination, littering her path with one fascinating tidbit after another. Lovingly illustrated with the foulest images from art, history, and culture, Ugliness offers an oddly refreshing perspective, going past the surface to ask what “ugly” truly is, even as its meaning continues to shift.

From the Author of the Cult Classic "November Rain" & the Bestselling Horror Novel "The Prayer" - comes a Masterpiece of spiritual quest spaning millions of lifetimes : The Greatest Friendship story ever told. You will find this is Your story too. or it may help you remember your own story. For this is the story of who we are. what everything means and where we are going. In this age of 'orkuts' and 'tagged' you will understand how a network of friends builds on an idea. How old friends find each other on a common platform. Each word in this book is a platform for you to find your old friends, to remember all that you have been. For above all this is a story of friendship of friends who are truly forever.

“If beauty is truth, is ugliness falsehood and deception? If all art need concern itself with is beauty, what need have we to explore in our literature the nature and consequences of ugliness?” In Plain and Ugly Janes, originally published in hardcover in 2000 by Garland, Charlotte Wright defines and explores the ramifications of a new character type in twentieth-century American literature, the “ugly woman,” whose roots can be traced to the old maid/spinster character of the nineteenth century. During the 1970s, stories began to appear in which the ugly woman is a figure of power—heroic not in the traditional old maid's way of quiet, passive acceptance but in a way more in keeping with the active, masculine definition of heroic behavior. Wright uses these stories to discuss the nature and definitions of ugliness and the effects of female ugliness on both male and female literary characters in the works of a range of American authors, including Sherwood Anderson, Russell Banks, Djuna Barnes, Peter S. Beagle, Sarah Bird, Ray Bradbury, Katherine Dunn, Louise Erdrich, William Faulkner, Tess Gallagher, Barry Hannah, Ernest Hemingway, Zora Neale Hurston, Alison Lurie, Lorrie Moore, Joyce Carol Oates, Flannery O'Connor, Katherine Anne Porter, Leon Rooke, Anne Tyler, Alice Walker, and Eudora Welty. Wright concludes that the ugly woman character allows American authors to explore the ironies and inequalities inherent in the beauty system.