The most violent city in the United States doesn't normally garner much attention from the SCTU. Victims are easy to find on the destitute streets and dark alleys. They are even easier to prey upon as they desperately cling to hope. Their bodies are easy to hide in the abandoned houses and buildings that litter Detroit. In a city turning into a ghost town, serial killers stalk the trapped residents with hellish delight. One killer gains national attention, even among the most vile and violent Detroit has to offer. He isn't just killing his victims, he's burning their bodies and the buildings they are in with impunity. He does not hunt in the shadows, but takes his victims during the cold light of day. He's methodical, calculating, and leaves no clues for the police to follow. Leads are so few and the kills so brazen, that Aislinn Cain and the SCTU pack their bags and head for the grim streets of Detroit. It is in this desolate waste of a city, that they will face their most depraved and deceptive serial killer yet.
Dodson reads the dreams in the Gospel of Matthew (1:18b-25; 2:12, 13-15, 19-21, 22; 27:19) as the authorial audience. This approach requires an understanding of the social and literary character of dreams in the Greco-Roman world. Dodson describes the social function of dreams, noting that dreams constituted one form of divination in the ancient world, and looks at the theories and classification of dreams that developed in the ancient world. He then moves on to demonstrate the literary dimensions of dreams in Greco-Roman literature. This exploration of the literary representation of dreams is nuanced by considering the literary form of dreams, dreams in the Greco-Roman rhetorical tradition, the inventiveness of literary dreams, and the literary function of dreams. The dreams in the Gospel of Matthew are then analyzed in this social and literary context. It is demonstrated that Matthew's use of dreams as a literary convention corresponds to the script of dreams in other Greco-Roman narratives. This correspondence includes the form of the Matthean dreams, dreams as a motif of the birth topos (1:18b-25), the association of dreams and prophecy (1:22-23; 2:15, 23), the use of the double-dream report (2:12 and 2:13-15), and dreams as an ominous sign in relation to an individual's death (27:19). An appendix considers the Matthean transfiguration as a dream-vision report.
Snuff films are a myth. Everyone knows that. When a serial killer begins rampaging through Kansas City, Missouri, the press dubs him The Lady Burner, because after he kills his victims, he sets their bodies on fire and burns down their houses. The SCTU knows that the fires are just a forensic counter measure. He’s covering his tracks; he rapes and strangles these women while filming it. He offers the videos up for sale on the dark web, forcing Aislinn Cain and the SCTU to track a killer through the sleazy digital marketplaces where someone can buy anything if they have enough money. However, once inside the marketplaces, Aislinn realizes it’s not just a case of tracking down the person selling the videos. There’s an infrastructure in place that insulates the video maker, the seller, the distributor, and the buyers. Ensuring everything on the dark web, even the makers of snuff films, are anonymous
Tourists and natives trolling bars and the scenic places that make up the French Quarter are being hunted. A mutilator intent on gathering trophies made up of swatches of skin laden with tattoos and scars is the hunter. The victims, left drugged but alive, are unable to help the police with a description of the perpetrator. With no clues and a serial criminal at large, the local police have no choice but to turn to the Serial Crimes Tracking Unit. The Serial Crimes Tracking Unit, better known as SCTU, is used to dealing with dead bodies, so they are unsure their hunting skills will be useful. While the perpetrator might fit a profile, the living are of little help. After all, they don’t even remember being attacked. Dealing with the living, especially those who have been victimized has never been a strong point of Aislinn Cain’s. As Aislinn and her team go to work at solving this case, they find themselves in a race against the clock. It is only a matter of time before their serial mutilator escalates into a serial killer.
In Nahuatl yolqui is the idea of a warrior brought back from the dead. For author and activist Roberto Cintli Rodríquez, it describes his own experience one night in March 1979 after a brutal beating at the hands of L.A. sheriffs. Framed by Rodríguez’s personal testimony of police violence, this book offers a historia profunda of the culture of extralegal violence against Red-Black-Brown communities in the United States. In addition to Rodríguez’s story, this book includes several short essays from victims and survivors that bring together personal accounts of police brutality and state-sponsored violence. This wide-ranging work touches on historical and current events, including the Watts rebellion, the Zoot Suit Riots, Operation Streamline, Standing Rock, and much more. From the eyewitness accounts of Bartolomé de las Casas to the protestors and allies at Standing Rock, this book makes evident the links between colonial violence against Red-Black-Brown bodies to police violence in our communities today. Grounded in the stories of the lives of victims and survivors of police violence, Yolqui, a Warrior Summoned from the Spirit World illuminates the physical, spiritual, and epistemic depths and consequences of racialized dehumanization. Rodríguez offers us an urgent, poignant, and personal call to end violence and the philosophies that permit such violence to flourish. Like the Nahuatl yolqui, this book is intended as a means of healing, offering a footprint going back to the origins of violence, and, more important, a way forward. With contributions by Raúl Alcaraz-Ochoa, Citalli Álvarez, Tanya Alvarez, Rebekah Barber, Juvenal Caporale, David Cid, Arianna Martinez Reyna, Carlos Montes, Travis Morales, Simon Moya Smith, Cesar Noriega, Kimberly Phillips, Christian Ramirez, Michelle Rascon Canales, Carolyn Torres, Jerry Tello, Tara Trudell, and Laurie Valdez.
Nadine Daniels is supposed to get married in one week. However, when her mother and her mother-in-law to be both show up, they bring trouble with them. As Nadine struggles to get ready for the wedding, she must also figure out who is after them and why. Or else she'll be exchanging her wedding dress for a funeral gown.
This is a drug anthology with a difference. Whilst the usual suspects are here - Huxley, Burroughs, Hunter S. Thompson and Irvine Welsh among them - there are many surprise inclusions such as film stars like Errol Flynn who fancied himself as the new De Quincey and Cary Grant who simply fancied LSD. Smashing the myth that drug culture all began in the sixties Rudgley provides a smorgasbord with dishes from the first century AD onwards and from drug cultures across the globe from Thailand to Haiti. Throughout history, drugs have inspired love and fear in almost equal proportions; no account of these substances can be called complete that seeks only to curse or praise them. This anthology is a microcosm that seeks to reflect the diverse worlds that come into being through the interplay of drugs and their users. There are individual sections for the most prominent drugs - cannabis, the narcotics, LSD as well as chapters for the lesser-known substances, such as nutmeg and henbane. As such, Wildest Dreams attempts to represent the complex history of human interactions with psychoactive drugs in all its diversity.
The revolutionary ideals of equality, communal living, proletarian morality, and technology worship, rooted in Russian utopianism, generated a range of social experiments which found expression, in the first decade of the Russian revolution, in festival, symbol, science fiction, city planning, and the arts. In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.
In war everyone loses. This brutal truth can be seen in the eyes of every soldier in every world... In Letherii, the exiled Malazan army commanded by Adjunct Tavore begins its march into the eastern Wastelands, to fight for an unknown cause against an enemy it has never seen. And in these same Wastelands, others gather to confront their destinies. The warlike Barghast, thwarted in their vengeance against the Tiste Edur, seek new enemies beyond the border and Onos Toolan, once immortal T'lan Imass now mortal commander of the White Face clan, faces insurrection. To the south, the Perish Grey Helms parlay passage through the treacherous kingdom of Bolkando. Their intention is to rendezvous with the Bonehunters but their vow of allegiance to the Malazans will be sorely tested. And ancient enclaves of an Elder Race are in search of salvation—not among their own kind, but among humans—as an old enemy draws ever closer to the last surviving bastion of the K'Chain Che'Malle. So this last great army of the Malazan Empire is resolved to make one final defiant, heroic stand in the name of redemption. But can deeds be heroic when there is no one to witness them? And can that which is not witnessed forever change the world? Destines are rarely simple, truths never clear but one certainty is that time is on no one's side. For the Deck of Dragons has been read, unleashing a dread power that none can comprehend... In a faraway land and beneath indifferent skies, the final chapter of ‘The Malazan Book of the Fallen' has begun... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.