Perfect for fans of Mick Herron and John Le Carré "The most important thing that's happened in Mexican literature in the last thirty years" Gaby Wood, Sunday Telegraph. It's Christmas in Culiacán and Detective Edgar "Lefty" Mendieta can't believe his luck. An old flame has returned with a teenage son he knew nothing about. Happiness seems to finally beckon for our careworn hero. The only snag is that Jason Mendieta wants to follow in his father's footsteps-even as Mexico's drug war descends a slippery slope toward chaos. While Lefty pursues a lunatic who has taken to bumping off dentists with a heavy-calibre pistol, a secret agent infiltrates a meeting of the drug lords and hears Pacific Cartel boss Samantha Valdés implore her underlings to stay out of the war. But an audacious murder provokes Samantha to change her mind and launch a wave of grisly killings across the country. Samantha then persuades Lefty to help her find the killer that pushed her over the edge. The truth he discovers will underline an old adage: revenge is a dish best served cold. No quiet family Christmas for our detective.

"Short of leads on the execution-style murder of a fortune-teller, Detective Lefty Mendieta turns to his contacts in the drug underworld. They oblige, but there is a quid pro quo: Help Samantha Valdes, head of the Pacific Cartel, slip through the net of Mexican army and federal police encircling the hospital where she is recovering after an attempt on her life. Grudgingly he agrees, but then gets caught on camera during the escape and becomes headline news. Fired from the force and on the run from the Feds, Lefty again seeks Samantha's help when he learns that his son Jason has been kidnapped in Los Angeles. There, he must come to terms with the woman who broke his heart, while contending with a thicket of conspiracies, feints and double-crosses that further blur the distinction between crime and the law. Betrayal is certain. To save his son, who will Lefty sell out?"--Provided by publisher.

In his major investigation into the nature of humans, Peter Sloterdijk presents a critique of myth - the myth of the return of religion. For it is not religion that is returning; rather, there is something else quite profound that is taking on increasing significance in the present: the human as a practising, training being, one that creates itself through exercises and thereby transcends itself. Rainer Maria Rilke formulated the drive towards such self-training in the early twentieth century in the imperative 'You must change your life'. In making his case for the expansion of the practice zone for individuals and for society as a whole, Sloterdijk develops a fundamental and fundamentally new anthropology. The core of his science of the human being is an insight into the self-formation of all things human. The activity of both individuals and collectives constantly comes back to affect them: work affects the worker, communication the communicator, feelings the feeler. It is those humans who engage expressly in practice that embody this mode of existence most clearly: farmers, workers, warriors, writers, yogis, rhetoricians, musicians or models. By examining their training plans and peak performances, this book offers a panorama of exercises that are necessary to be, and remain, a human being.

This book provides the first sustained critical exploration, and celebration, of the relationship between Geography and the contemporary Visual Arts. With the growth of research in the Geohumanities and the Spatial Humanities, there is an imperative to extend and deepen considerations of the form and import of geography-art relations. Such reflections are increasingly important as geography-art intersections come to encompass not only relationships built through interpretation, but also those built through shared practices, wherein geographers work as and with artists, curators and other creative practitioners. For Creative Geographies features seven diverse case studies of artists’ works and exhibitions made towards the end of the twentieth and the beginning of the twentieth-first century. Organized into three analytic sections, the volume explores the role of art in the making of geographical knowledge; the growth of geographical perspectives as art world analytics; and shared explorations of the territory of the body, In doing so, Hawkins proposes an analytic framework for exploring questions of the geographical “work” art does, the value of geographical analytics in exploring the production and consumption of art, and the different forms of encounter that artworks develop, whether this be with their audiences, or their makers.

When the mutilated body of Mayra Cabral de Melo, a well-known stripper, is found by the side of a dusty road, detective Edgar "Lefty" Mendieta has personal reasons for bringing the culprit to justice. Mayra had no shortage of ardent, deluded, and downright dangerous admirers, and Lefty himself is haunted by one steamy night he spent in her generous company. So begins an investigation that will bring him ever closer to the murderous world of the narcos, who are waging a war of bloody attrition against the Mexican state. The country is a powder keg, waiting for a spark, and Mendieta is about to enter the darkest days of his life. Corrupt politicians, failed boxers, and unscrupulous arms dealers all lie in wait along the path to justice. But none of this can prepare him for his run-in with the FBI, when the father of the president of the United States is attacked while on vacation in Mexico. For all these perils it is the weight of his own murky past that Lefty finds hardest to bear. And as he scratches around for clues, faced with a gallery of suspects who all have a motive and none of whom is a stranger to the dark arts of murder, the reappearance of Samantha Valdés, now the boss of the Cartel del Pacífico, adds one more jagged piece to an already unsolvable puzzle.

AS MEXICO'S DRUG WAR DESCENDS INTO CHAOS, A GRISLY WAVE OF KILLINGS IS BEGINNING IN CULIACAN . . . AND DETECTIVE EDGAR "LEFTY" MENDIETA MUST FIND THE MURDERER. FROM ELMER MENDOZA, "THE MASTER OF NARCO-LITERATURE" (SACRAMENTO BEE) AND "THE MOST IMPORTANT THING THAT'S HAPPENED TO MEXICAN LITERATURE IN THE LAST THIRTY YEARS" (SUNDAY TELEGRAPH), COMES A THRILLING NOVEL THAT EXPLORES THE CORRUPT POLITICS AND DARK VIOLENCE OF THE CITY THAT MEXICO'S DRUG KINGPINS CALL HOME. It's Christmas in Culiacan and Detective Edgar "Lefty" Mendieta can't believe his luck: An old flame has returned with his teenage son he knew nothing about, and he couldn't be happier. But Jason Mendieta wants to follow in his father's footsteps--even as Mexico's drug war descends a slippery slope towards chaos. While Lefty pursues a lunatic who has taken to bumping off dentists with a heavy-calibre pistol, a secret agent infiltrates a meeting of the drug lords and hears Pacific Cartel boss Samantha Valdes implore her underlings to stay out of the war. But an audacious murder provokes Samantha into changing her mind and launching a grisly wave of killings across the country. There will be no quiet family Christmas for our detective, as Samantha persuades Lefty to help her find the killer that pushed everything over the edge. The truth he discovers will underline an old adage: revenge is a dish best served cold.

Tormented by past heartbreak and contemporary politics, for Edgar 'Lefty' Mendieta the news of the murder of lawyer Bruno Canizales represents just another day at the office in the drug-ridden city of Culiacán. It soon becomes clear that there is no shortage of suspects in a city where it's hard to tell the gangsters from the politicians. Canizales was the son of a former government minister and the partner of a drug baron's daughter, with his own penchant for cross-dressing and dangerous sex. What is less clear is why the assassin chose to use a silver bullet. And why, two days later, they seem to have struck again. In this sweltering city where a desire for the truth can be as dangerous as any drug, Mendieta's search for justice takes him from mansions to drug dens, in Élmer Mendoza's seminal founding text of Latin America's 'narco-lit' wave.

In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.

A deep exploration of the regenerative and magical secrets of sacred masculinity hidden in familiar myths both ancient and modern • Reveals the restorative fungi archetype of Osiris, the Orphic mysteries as an underground mycelium linking forests and people, how Dionysus teaches us about invasive species and playful sexuality, and the ecology of Jesus as depicted in his nature-focused parables • Liberates Tristan, Merlin, and the Grail legends from the bounds of Campbell’s hero’s journey and invites the masculine into more nuanced, complex ways of dealing with trauma, growth, and self-knowledge Long before the sword-wielding heroes of legend readily cut down forests, slaughtered the old deities, and vanquished their enemies, there were playful gods, animal-headed kings, mischievous lovers, trickster harpists, and vegetal magicians with flowering wands. As eco-feminist scholar Sophie Strand discovered, these wilder, more magical modes of the masculine have always been hidden in plain sight. Sharing the culmination of eight years of research into myth, folklore, and the history of religion, Strand leads us back into the forgotten landscapes and hidden secrets of familiar myths, revealing the beautiful range of the divine masculine, including expressions of male friendship, male intimacy, and male creative collaboration. In discussing Dionysus and Osiris, Strand encourages us to think like an ecosystem instead of like an individual. She connects dying, vegetal gods to the virtuous cycle of composting and decay, highlighting the ways in which mushrooms can restore soil and heal polluted landscapes. Exploring esoteric Christianity, the author celebrates the Gnostic Jesus of the Gospel of Thomas, imagining the ecology that the Rabbi Yeshua would have actually been referencing in his nature-focused parables. Strand frees Tristan, Merlin, and the Grail legends from the bounds of Campbell’s hero’s journey and invites the masculine into more nuanced, complex ways of dealing with trauma, growth, and self-knowledge. Strand reseeds our minds with new visions of male identity and shows how each of us, regardless of gender, can develop a matured ecological empathy and witness a blossoming of sacred masculine powers that are soft, curious, connective, and celebratory.