A serial killer is targeting cops in a Chicago suburb, and Detective Joe Garrett is determined to discover his identity before another one of his fellow police officers is murdered. A hardened investigator, Garrett follows a string of murders spanning four decades, once every five years to the date. With his own personal problems, and the holidays closing in, Garrett discovers time is a more precious commodity than he ever anticipated. Every clue he finds seems to lead to a dead end. Choosing to research potential victims by riding with the patrolmen he figures are prime targets, the investigator befriends a salty officer, developing a unique relationship based on their parallel careers. Garrett must ultimately unravel the politics hindering his investigation and discover the killer's true motives before someone he knows becomes the last victim in a gruesome ritual coming full circle.

In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.

Delbert, the Keeper of Time, a nervous stumpy like man, has summoned our young detective Moustachio to the Museum of Time, a strange and spooky castle once owned by the famous archaeologist Lord Grimthorpe. The crime he must solve? A mystical bell that controls all time has been stolen!

When the past steals her future, only one man can help her reclaim it. Devynn Rowe never asked for her unpredictable gift of time travel. But when a fall in an abandoned mine shaft hurls her back to Jerome, Arizona, in 1926, she finds herself trapped in a world where her own witch clan — the Wilcoxes — are the mortal enemies of the McAllisters of Jerome. Rescued by the handsome and kind warlock Seth McAllister, Devynn weaves a web of lies to protect her true identity. As she struggles to adapt to life a century before her time, she can’t ignore the growing attraction between them. But pursuing a relationship could unravel everything she’s fought to keep hidden. Seth is drawn to the mysterious woman he found unconscious in the mine, even as his duties to his clan pull him in another direction. When family obligations thrust him into a dangerous world of bootlegging and deceit, he finds himself torn between loyalty and love. As Devynn and Seth dance around their feelings and their secrets, the truth threatens to burn away all their illusions. But time is running out. A moment of violence changes everything…catapulting them into a situation more perilous than either could have imagined.

From New York Times–bestselling author Dashka Slater comes the whimsical and witty sequel to The Book of Fatal Errors! Rufus may have successfully sent the feylings home to the Green World, but he still has one pesky feyling under his wing: Nettle, his sometimes enemy, now mentor. Nettle is in charge of helping Rufus and his cousin Abigail protect Feylawn, their grandfather’s magical and mysterious homestead. But this difficult task becomes even more dangerous when a leopard appears in the woods without warning; strange, waterlogged women arrive to warn of impending doom; and a goblin begins digging his way back to Earth, hungry for revenge. Meanwhile, Rufus’s father is intent on selling Feylawn to the highest bidder. Can Rufus and Abigail save Feylawn and its magic? Or will they have to say goodbye to the feylings forever? In The Book of Stolen Time, our favorite heroes are back! And magic, mischief, and adventure abound.

They'll kill to get more time. She'll die to stop them. In a world where each person's life span is limited by law, time is a lucrative commodity that some people will do anything to get more of. Fourth-dimension physicist, Dr Varya Galanos, invented the technology that time thieves used to murder children by stealing their remaining years of life. Although it was destroyed 10 years ago, and the thieves brought to justice, she still suffers from the burden of guilt. Masquerading as a lowly lab technician at the Minor Miracles Foundation, Varya finds a certain peace searching for cures for rare childhood diseases, like the one which took her 4-year-old son, Kir, away from her. The Foundation is secretly funded by Varya and her employee and confidante, Marisa Volkov, by selling illicit time tabs to wealthy patrons. When dissolved on the tongue, a single time tab grants a person four extra hours in their day. The time tab technology is highly valued – and highly illegal – in a society where Time Chips are inserted into each child's brain stem at birth. Lives are limited to just sixty-five years to conserve the planet's ever-dwindling resources. Varya's tenuous peace is shattered when children start disappearing again. She fears the worst – that the time thieves have returned and have somehow resurrected the technology to steal precious years from children. Varya is the only one who can find a way to reverse the time drains and save the returned children. But doing so could cost the lives of those she holds dearest. When her best friend's son becomes a victim, returned with just hours to live, she is faced with an impossible choice. "An intriguing and well written time-bending mystery that explores motherhood and medical disparity in an ageist dystopia." ~ Melissa Ferguson, author of The Shining Wall "Brilliantly written, lots of twists, turns, surprises, and a perfect ending!" ~ Jeanz Book Read'n'Review "I plowed through this book in two days and was on the edge of my seat the whole time! Great job!" ~ Book Grrl

High Speed CMOS Design Styles is written for the graduate-level student or practicing engineer who is primarily interested in circuit design. It is intended to provide practical reference, or `horse-sense', to mechanisms typically described with a more academic slant. This book is organized so that it can be used as a textbook or as a reference book. High Speed CMOS Design Styles provides a survey of design styles in use in industry, specifically in the high speed microprocessor design community. Logic circuit structures, I/O and interface, clocking, and timing schemes are reviewed and described. Characteristics, sensitivities and idiosyncrasies of each are highlighted. High Speed CMOS Design Styles also pulls together and explains contributors to performance variability that are associated with process, applications conditions and design. Rules of thumb and practical references are offered. Each of the general circuit families is then analyzed for its sensitivity and response to this variability. High Speed CMOS Design Styles is an excellent source of ideas and a compilation of observations that highlight how different approaches trade off critical parameters in design and process space.

Timespace argues that the old dimensions of time and space do not exist singly, but only as a hybrid process term. the contributors introduce the concepts of time and space together, across a range of disciplines.

The first study of one of the most innovative of contemporary novelists, Liz Jensen, and of the "otherworlds" in her fiction. Liz Jensen, a British author of eight novels, is among today's most innovative writers. Her literary thrillers occupy the terrain between realism and science fiction. This first study of Jensen centers on the very diverse "otherworlds" she creates in each of her novels, which can consist of an indeterminate space of ontological instability, a zone in which real and unreal converge to destabilize the realist text, as in Egg Dancing (1995) and TheNinth Life of Louis Drax (2004). In other novels the otherworld relies on defamiliarization: thus in War Crimes for the Home (2002) the experience of war is transformed by being seen from a woman's perspective. In stillother cases, the otherworld spans the novel's entire topos, as in The Paper Eater (2000), the full-blown utopia at the center of Jensen's oeuvre. Jensen's work approaches contemporary social issues such as religious fundamentalism, ecological disaster, and assisted procreation. Simultaneously, it displays a number of characteristics of erudite fiction, including self-reflexivity, inter- and intratextual reference, parody, pastiche, and burlesque. Notwithstanding the "popular" elements of Jensen's work, Helen E. Mundler's study adopts a rigorously academic approach to it, referencing canonical works but also more innovative texts, particularly by contemporary women writers, as points of comparison. Helen E. Mundler is Senior Lecturer in English Studies at UPEC (Université Paris-Est Créteil) with a research affiliation at the Université Paris-X Nanterre-La Défense.

For over a dozen years, the Vectors Lab has experimented with digital scholarship through its online publication, Vectors, and through Scalar, a multimedia authoring platform. The history of this software lab intersects a much longer tale about computation in the humanities, as well as tensions about the role of theory in related projects. Tara McPherson considers debates around the role of cultural theory within the digital humanities and addresses Gary HallÕs claim that the goals of critical theory and of quantitative or computational analysis may be irreconcilable (or at the very least require Òfar more time and careÓ). She then asks what it might mean to designÑfrom conceptionÑdigital tools and applications that emerge from contextual concerns of cultural theory and, in particular, from a feminist concern for difference. This path leads back to the Vectors Lab and its ongoing efforts at the intersection of theory and praxis.