A middle-of-the night phone call summons NYPD Detective Chiara Corelli and her partner, Detective P.J. Parker, to a politically sensitive murder scene. The victims—a U.S. Senator, the pastor of a mega church, and a self-made music industry billionaire—appear to have been killed during a sex orgy. Pressure is mounting to cover up the circumstances. But Corelli and Parker are enraged by the words scrawled in blood on a mirror, and their hearts are broken by what they find hidden in a closet. Now the partners vow to find the killer and expose the unsavory lives of these men while seeking justice for the real victims in this case—the children.

Message In Blood is a story of street justice. Jace White is getting out of prison after doing 6 years for bank robbery., but his mom's voice over the phone gives him a bad feeling about it. Upon his release, his worst fears are realized: His baby sister has been murdered! Now, full of grief and a burning anger, Jace has to get down to business to find out who killed his sister and everyone else who was involved. However, Jace didn't do all that prison time without making some like-minded friends who rally to him with an undying loyalty that only having each other's backs for years in prison can forge. Leaving a trail of blood and bodies a mile wide, Jace found out who called the shot that killed his little sister and it's the last person he would have ever expected. And, Jace White is the last person you would ever want to know that you were the reason his little sister was killed.

Charles Reagan Wilson documents that for over half a century there existed not one, but two civil religions in the United States, the second not dedicated to honoring the American nation. Extensively researched in primary sources, Baptized in Blood is a significant and well-written study of the South’s civil religion, one of two public faiths in America. In his comparison, Wilson finds the Lost Cause offered defeated Southerners a sense of meaning and purpose and special identity as a precarious but distinct culture. Southerners may have abandoned their dream of a separate political nation after Appomattox, but they preserved their cultural identity by blending Christian rhetoric and symbols with the rhetoric and imagery of Confederate tradition. “Civil religion” has been defined as the religious dimension of a people that enables them to understand a historical experience in transcendent terms. In this light, Wilson explores the role of religion in postbellum southern culture and argues that the profound dislocations of Confederate defeat caused southerners to think in religious terms about the meaning of their unique and tragic experience. The defeat in a war deemed by some as religious in nature threw into question the South’s relationship to God; it was interpreted in part as a God-given trial, whereby suffering and pain would lead Southerners to greater virtue and strength and even prepare them for future crusades. From this reflection upon history emerged the civil religion of the Lost Cause. While recent work in southern religious history has focused on the Old South period, Wilson’s timely study adds to our developing understanding of the South after the Civil War. The Lost Cause movement was an organized effort to preserve the memory of the Confederacy. Historians have examined its political, literary, and social aspects, but Wilson uses the concepts of anthropology, sociology, and historiography to unveil the Lost Cause as an authentic expression of religion. The Lost Cause was celebrated and perpetuated with its own rituals, mythology, and theology; as key celebrants of the religion of the Lost Cause, Southern ministers forged it into a religious movement closely related to their own churches. In examining the role of civil religion in the cult of the military, in the New South ideology, and in the spirit of the Lost Cause colleges, as well as in other aspects, Wilson demonstrates effectively how the religion of the Lost Cause became the institutional embodiment of the South’s tragic experience.

In this challenging and often humorous book, Louis Owens examines issues of Indian identity and relationship to the environment as depicted in literature and film and as embodied in his own mixedblood roots in family and land. Powerful social and historical forces, he maintains, conspire to colonize literature and film by and about Native Americans into a safe "Indian Territory" that will contain and neutralize Indians. Countering this colonial "Territory" is what Owens defines as "Frontier," a dynamic, uncontainable, multi-directional space within which cultures meet and even merge. Owens offers new insights into the works of Indian writers ranging from John Rollin Ridge, Mourning Dove, and D'Arcy McNickle to N. Scott Momaday, Leslie Silko, James Welch, and Gerald Vizenor. In his analysis of Indians in film he scrutinizes distortions of Indians as victims or vanishing Americans in a series of John Wayne movies and in the politically correct but false gestures of the more recent Dances With Wolves. As Owens moves through his personal landscape in Oklahoma, Mississippi, California, and New Mexico, he questions how human beings collectively can alter their disastrous relationship with the natural world before they destroy it. He challenges all of us to articulate, through literature and other means, messages of personal and environmental — as well as cultural—survival, and to explore and share these messages by writing and reading across cultural boundaries.

Just back from her second tour in Afghanistan, NYPD Detective Chiara Corelli goes undercover to expose a ring of dirty cops. But when she’s ordered to kill to prove her loyalty, she aborts the operation without having identified the leaders. Now, Corelli is the one exposed. With her brothers and sisters in blue ostracizing her, can she trust Detective P.J. Parker to watch her back? Parker is the daughter of a vehement critic of the NYPD. But that doesn’t stop her from wanting to work in the homicide division. And wanting to learn from the best. Unfortunately, Chiara Corelli is the best…even if she is the most hated detective in the department. Without Parker, Corelli will be condemned to desk duty. Corelli is Parker’s only chance to work in homicide. Will the two women put aside their fears and join forces to solve a brutal murder and identify the leaders of the dirty cops before they get to Corelli’s family?

Spain: 1489. Cordoba, Andalusia When Thomas Berrington is sent to Cordoba on the orders of a man he hates he welcomes the distraction of a murder, but is shocked when the evidence points to the killer being his closest companion. With Jorge is imprisoned, Thomas must continue his investigation alone - a task made harder by the distraction of two beautiful women. In his search for the truth, Thomas twists and turns through the confusion of Jorge's past, uncovering a myriad of revelations. Each one throws up a new suspect. Reunited they come close to discovering the identity of the culprit, only to confront an adversary more powerful than any they have faced before. To save Jorge's life, Thomas might have to sacrifice everything he has gained.

The “riveting”* true story of the fiery summer of 1970, which would forever transform the town of Oxford, North Carolina—a classic portrait of the fight for civil rights in the tradition of To Kill a Mockingbird *Chicago Tribune On May 11, 1970, Henry Marrow, a twenty-three-year-old black veteran, walked into a crossroads store owned by Robert Teel and came out running. Teel and two of his sons chased and beat Marrow, then killed him in public as he pleaded for his life. Like many small Southern towns, Oxford had barely been touched by the civil rights movement. But in the wake of the killing, young African Americans took to the streets. While lawyers battled in the courthouse, the Klan raged in the shadows and black Vietnam veterans torched the town’s tobacco warehouses. Tyson’s father, the pastor of Oxford’s all-white Methodist church, urged the town to come to terms with its bloody racial history. In the end, however, the Tyson family was forced to move away. Tim Tyson’s gripping narrative brings gritty blues truth and soaring gospel vision to a shocking episode of our history. FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD “If you want to read only one book to understand the uniquely American struggle for racial equality and the swirls of emotion around it, this is it.”—Milwaukee Journal Sentinel “Blood Done Sign My Name is a most important book and one of the most powerful meditations on race in America that I have ever read.”—Cleveland Plain Dealer “Pulses with vital paradox . . . It’s a detached dissertation, a damning dark-night-of-the-white-soul, and a ripping yarn, all united by Tyson’s powerful voice, a brainy, booming Bubba profundo.”—Entertainment Weekly “Engaging and frequently stunning.”—San Diego Union-Tribune

"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review

The preponderance and influences of religions in our world need not be established. Religions are largely represented in two categories of fundamental beliefs regarding the deity: those who claim monotheism and polytheists. If there is a single common thread between all religions, it is that they are all founded on at least some elements of beliefs that defy logic. Those unexplainable beliefs are accepted as faith by their devotees. If this observation is correct, one has to reflect on a few basic questions. If intelligent supernatural forces created humans, they are also the creators of logic. This suggests that the religions of our world should not be short on logic, but a simple analysis of their beliefs appear to show otherwise. The same could be said of the monotheist God; why does he expect a persons faith to be founded on elements lacking sound logic? The author answers the question in a rather surprising way. The lack of logic is only due to human interference in the affairs of God. The divine system designed to regenerate love originally created in the human heart has been corrupted beyond recognition. This book is a search for Gods rational plan of action to help humans grow true love in their hearts.