"Bad Blood meets Dreamland in this kaleidoscopic investigation into the shadowy and vampiric blood business and the dangerous limits of demand for the crucial resource that runs through our very veins. Every year, about twenty million Americans sell blood plasma for cash in a barely regulated market dominated by private industry and off-the-grid trafficking. These commercial efforts prey on an insatiable market for medical and scientific innovation fed from the veins of some of the country's most marginalized communities, such as undocumented immigrants and residents of poverty-stricken Flint, Michigan. We are often told that "blood donations" are used to save lives, but blood plasma, a component of whole blood, has become a precious commercial good. Blood plasma is collected and marketed by private industry, with the United States one of just five nations on the planet that have not yet banned the practice of pay-for-plasma giving. This precious resource is used for everything from expensive and unproven age-reversing treatments to costly and experimental cures for novel diseases like COVID-19. Based on a cross-country investigation into the plasma-giving capitals of the country, in-depth research into the blood industry, and her personal experience as a beneficiary of plasma-derived treatment for a rare condition, Kathleen McLaughlin's Blood Money reveals the underhanded machinations and unbalanced power structures of the blood industry. Taking us from China's blood black market to Silicon Valley's shadowy tech startups, this is an unforgettable inside look at an industry many of us had no idea even existed. Blood Money is an electrifying exposé that demonstrates the shadowy overlap between big medicine and big business and paints a searing portrait of the extent to which American industry feeds on the country's most vulnerable"--

Vivian Gilbert Zabel and Holly Jahangiri offer a collection of 21 original short stories spanning a variety of themes and genre, many crime or mystery based.

This book is a collection of short stories, often based on or influenced by, personal experiences. Their themes are quite diverse, including realistic stories, science fiction, fantasy and adventure. Some are set in the past; some in the present; and some in the future. Some, such as "The Volunteer's Tale" and "The House of Lies", deal with social problems. Others, including "Canine Fantasies", are pure fantasy. "The Uninvited Guest" combines elements of both. "The Decoy" enlarges whimsically upon an unpleasant travel experience. While some stories have a social message, their primary purpose is to entertain.

The story of an Olympic wrestler allegedly murdered by the wealthy heir to the Du Pont fortune, Blood Money takes readers inside the bizarre owrld of a multi-millionaire, and lays bare the brutal shooting and tense police siege that riveted the nation.

In a tone at once comic, gothic, and deceptively pastoral, the stories in this collection continue the tradition of Hawthorne, Poe, and James--Americans pursuing a dialectic with Europe--but in a late 20th century context. Constance Pierce's character's, with their fetishes for food and property, hide their eyes with daydreams, hallucinations, and enormous feats of rationale in their longing to return to the happy normal state they tell themselves they once enjoys but which likely never existed at all. Subtly questioning their characters' illusions and nostalgia, these stories, set in such territory as World War II Germany, the French countryside, and Long Island Sound, address the often nebulous relationships between private and public life, old and new ideas, fantasy and reality.

Scholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films such as Black Christmas (1974), Halloween (1978) and Friday the 13th (1980) in order to claim that these were formulaic, excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons. However, by examining the commercial logic, strategies and objectives of the American and Canadian independents that produced the films and the companies that distributed them in the US, Blood Money demonstrates that filmmakers and marketers actually went to extraordinary lengths to make early teen slashers attractive to female youth, to minimize displays of violence, gore and suffering and to invite comparisons to a wide range of post-classical Hollywood's biggest hits; including Love Story (1970), The Exorcist (1973), Saturday Night Fever (1977), Grease and Animal House (both 1978). Blood Money is a remarkable piece of scholarship that highlights the many forces that helped establish the teen slasher as a key component of the North American film industry's repertoire of youth-market product.

This collection by Lucius Shepard, one of the most exciting new writers to emerge in the 1980s, includes the eponymous story ¿Barnacle Bill the Spacer¿, about an attempted mutiny on a space station, which won the Hugo Award, as well as ¿Sports in America¿, about a man who finds out just how far he is willing to go when he is hired by a local crime boss to kill a man. In ¿All the Perfumes of Araby¿ a small-time smuggler is granted a vision of the future that compels him to change his life, while ¿Human History¿ is a post-apocalyptic adventure story with a hint of decadence. ¿The Sun Spider¿ is a romance of sorts, with a decidedly gothic twist, while in ¿Beast of the Heartland¿, a boxer at the end of his career is lured back into the ring with the promise of one last big payoff. And anyone who has ever completely lost themselves in a piece of music will recognise the inspiration for ¿A Little Night Music¿. Shepard's stories are not just wonderfully three-dimensional characters dealing with life-changing events; they are filled with colours, textures, sounds and smells, as he describes his backgrounds with as much care as a master painter.

In a world where more women are joining the work force, where ever more are stepping out from their secluded and cloistered world and can be physically seen in larger numbers, this collection seeks to explore how male writers in Urdu view and consequently present or represent the women of their world. In her Introduction, Rakhshanda Jalil traces the history of ‘writings on women’ by both male and female writers — from the doyens of Urdu literature to contemporary writers dealing with contemporary issues, setting the mood for the stories in this collection and giving the reader a sampler of what to expect in the ensuing pages. The collection includes themes which are timeless as well as topics that are an outcome of the times we live in. Starting with two of the four pillars of the Urdu short story – Rajinder Singh Bedi and Krishan Chandar – who can be credited with introducing a realistic portrayal of women in Urdu fiction, the stories in this volume offer multiple ways of ‘seeing’ women.

These stories, in all their narrative voicings, deal with sorrow and still seek to find life’s joys. Despite conflicts, contradictions, sacrifices, surprises and ironies, the haunted and hunted characters try to comprehend death in detail. In so doing, the human spirit rises up and triumphs against the incomprehensible and bewildering aspects of life, love and death.

INVISIBLE: they are the American government's most powerful asset, their very existence only known to a handful of individuals. INGENIOUS: an elite unit of deep-cover agents, turning the tide in the war on terror. That is, until they start being exposed, one by one. INFILTRATED: and now a hunt to find the leak, before they all go under.