Can FBI Special Agent Pendergast stop a cursed Egyptian tomb from terrorizing New York City -- or will he stay trapped in a maximum security prison, punished for a murder he didn't commit? An FBI agent, rotting away in a high-security prison for a murder he did not commit... His brilliant, psychotic brother, about to perpetrate a horrific crime... A young woman with an extrodinary past, on th edge of a violent breakdown... An ancient Egyptian tomb with an enigmatic curse, about to be unveiled at a celebrity-studded New York gala... Memento Mori

This is a continuation regarding the immortality of man from the spiritual realms, stories concerning the lives of people who lived before passing to the higher side of life. Everyone has a story to tell about the way their lives turned out. Memories are mostly events and entualities that took place in a period of time. Each person has a past that belongs to them as individuals. Everyone would have liked to express parts of their lives before passing over. This book is going to do just thatyou could hear voices whispering words to their loved ones, if we could, for a moment, listen or hear what they have to say or what they want to do before being released from their earthly lives. But this appears to be beyond the human mind unless you are sensitive to receive information. You still may wonder, Is it me or my imagination playing tricks on me? The only proof at the moment is when a person consults a medium or clairvoyant who then becomes the mediator between the two spheresphysical and spiritual domains. So you can imagine the information there is roaming around in the ether and the thoughts waiting to be heard. I hope this book may enlighten the reader to search for the true meaning of life beyond the physical boundaries and come to some conclusion that we are immortal beings and that there is no death.

Edwin stood on the bank for a long while watching the elder gentleman splash in the water. He waited patiently for some time, hoping the old man would return to the edge of the stream to reclaim the tunic lying on the rocks. Finally, he realized the old monk was waiting to see if this newcomer would enter the cold stream to join him. Edwin gritted his teeth and removed all his clothing except for a loincloth and stepped slowly into the cold water. He sucked in his breath quickly, as the cold was immediate; piercing him to the bone as he moved forward into the stream. He finally reached the old man and voiced an incoherent hello in a Tibetan dialect. There was no reply and the oldster turned toward the bank and the clothing; ignoring Edwin; giving no indication he'd heard his words. Rasske called out again as the old man slowly continued his way among the boulders toward the bank to reclaim his tunic. Finally, he splashed and stumbled to reach the old monk and grasped his arm and cried out, "Old man, please do not walk away from me. I have travelled halfway across the world to find you and to learn truth from you. Please," he begged, teeth chattering uncontrollably from the penetrating coldness of the water. The aged monk turned swiftly and grasped Edwin by the nape of the neck in a fierce grip, forcing his head under the water of the stream. As he thrashed about in the water, he could not break the grip of steel. Soon his life flashed before his eyes and he could feel his life ebbing away. The old man loosened the hold on his neck and held Edwin's head up as he retched and gagged for air.......

Johnstone Country. Try Not to Get Killed. In this explosive Hank Fallon thriller, the justice-seeking ex-con goes undercover and behind bars to expose a plot as big, as bold, and as deadly as the American Civil War . . . GET OUT OF JAIL FREE—OR DIE Doing time in Texas is no picnic. But getting sent to The Walls in Huntsville is a fate worse than hanging. If the guards don’t kill you, the prisoners will. And if it weren’t for the fact that the man who framed Hank Fallon and murdered his family could be inside The Walls, Hank would never step one foot in that heinous helltrap—let alone go undercover as an inmate. But this isn’t just another assignment. This is his chance for revenge . . . Inside The Walls, Hank quickly discovers who’s boss—as well as judge, jury, and executioner. The only relief from the gang fights and guard beatings is a prison work program that allows inmates to leave The Walls to work for plantation owner J.J. Justice. Hank figures it can’t be any worse than jail. But it is. Seems that Justice is ordering the men to commit robberies and murders. He’s stockpiling weapons. Building an army. And planning to restart the Civil War—all in the name of Justice . . . Live Free. Read Hard.

In late medieval Catholicism, mourners employed an array of practices to maintain connection with the deceased—most crucially, the belief in purgatory, a middle place between heaven and hell where souls could be helped by the actions of the living. In the early sixteenth century, the Reformation abolished purgatory, as its leaders did not want attention to the dead diminishing people's devotion to God. But while the Reformation was supposed to end communication between the living and dead, it turns out the result was in fact more complicated than historians have realized. In the three centuries after the Reformation, Protestants imagined continuing relationships with the dead, and the desire for these relations came to form an important—and since neglected—aspect of Protestant belief and practice. In Speaking with the Dead in Early America, historian Erik R. Seeman undertakes a 300-year history of Protestant communication with the dead. Seeman chronicles the story of Protestants' relationships with the deceased from Elizabethan England to puritan New England and then on through the American Enlightenment into the middle of the nineteenth century with the explosion of interest in Spiritualism. He brings together a wide range of sources to uncover the beliefs and practices of both ordinary people, especially women, and religious leaders. This prodigious research reveals how sermons, elegies, and epitaphs portrayed the dead as speaking or being spoken to, how ghost stories and Gothic fiction depicted a permeable boundary between this world and the next, and how parlor songs and funeral hymns encouraged singers to imagine communication with the dead. Speaking with the Dead in Early America thus boldly reinterprets Protestantism as a religion in which the dead played a central role.