He's coming to get you. The fifth thriller in the compelling Byrne and Balzano series from the Sunday Times bestseller. It is fall in Philadelphia and the mutilated body of a man is found in one of the poorest neighbourhoods of the city. The victim has been viciously tortured to death. It's the work of a sadistic mind in free fall. When homicide detectives Kevin Byrne and Jessica Balzano investigate, they soon realise that their crime scene is linked to the past. Eight years ago, another body was found in the same place, in the same position, killed in the same manner. That case was never closed. Apart from their killer's unusual calling cards, the crime scene photos - past and present - are identical. As another brutalised body appears, then another, it becomes horrifyingly clear that someone is recreating unsolved murders from Philadelphia's past in the most sinister of ways. And the killer is closer than they think...

For fans of Harlan Coben and “Mindhunter,” Sam Holland’s chilling debut draws inspiration from infamous serial killer cases, culminating in the ultimate, heart-pounding copycat tale. Detectives Cara Elliott and Noah Deakin are on the case of a series of seemingly unconnected murders, each different in method, but each shocking and brutal. As the body count increases, they can’t ignore the details that echo famous cases of the past—Manson, Kemper, Dahmer, and more. As Elliott and Deakin get closer to unmasking the killer, the murders are moving closer to home. Meanwhile, Jessica Ambrose is on the run. She’s been implicated as the arsonist who killed her neglectful husband and injured her young daughter. With the help of disgraced and suspended detective Nate Griffin, Jess discovers a shocking link between her case and that of the ultimate copycat killer working on his horrifying masterpiece.

"This book treats the poetics of biblical allusion in the lyric poetry of William Butler Yeats, and the ways in which the King James Bible became for Yeats a model for poetry as a communal voice shaping a culture." "The introduction analyzes the critical history of what Eleanor Cook has termed the "poetics of allusion," emphasizing the work of the Italian rhetorician Gian Biago Conte and the American critic and poet John Hollander. The major topics considered here are allusions as the intersections of texts, as figures of speech, and as structural signifiers; the centrality of the reader in the study of allusion; the quality of allusions, their placement and varying degrees of clarity; and the centrality of the study of allusion to cultural criticism." "The first chapter is concerned with the development of the Bible as a model for secular poetry from the late eighteenth century to Yeats, surveying Bishop Lowth, Blake, Coleridge, Wordsworth, Shelley, and Matthew Arnold, as well as Yeats's references in his prose works to the Bible as a model for art and the artist, and his desire to restore the Bible as sacred text, yet write his own Bible." "Chapters 2 through 5 take up in detail the poetics of biblical allusion and echo in the poems. Chapter 2 treats the poetry of the nineties: here Yeats usually engages the Bible as an antagonist, subverting it for the sake of a Celtic consciousness, denying its exclusive claim to spiritual truth. But many biblical echoes show Yeats's dependence upon the Bible as a guide to poetic language. Chapter 3 concerns the poetry from In the Seven Worlds to The Wild Swans at Coole. Yeats looks on Scripture with an ironic eye, often replacing it with what he calls "haughtier texts," the parables, prayers, visions, and private revelations that mirror biblical models and make biblical texts into warrants for his own theory of rebirth. Chapter 4 is a close reading of biblical intertextuality in seven poems: "The Second Coming," "Sailing to Byzantium," "Meditations in Time of Civil War," "Nineteen Hundred and Nineteen," "Prayer for My Son," "Dialogue of Self and Soul," and "Vacillation." In these major poems Yeats displays his antitheticality, as Hazard Adams calls it, putting into dramatic tension biblical texts and his own heterodox ideas about birth, death, and resurrection. Chapter 5 examines the poetry after "Vacillation," where Yeats gives biblical texts (often text used before) a new sensual gloss, but also admits the limits of a "high talk" derived from scriptural language." "Chapter 6 places Yeats in the broad context of biblical intertextuality, working backward from modernism to Romanticism. First, the study contrasts Yeats with two of his contemporaries, D. H. Lawrence and T. S. Eliot, for whom the Bible always asserts its religious authority, in the Victorian tradition of Arnold, Clough, Browning, and Tennyson. The study concludes by comparing Yeats to Wordsworth and Shelley. Although Yeats is deeply indebted to them, his attitude is distinct from theirs: even when rejecting the Bible, Wordsworth. and Shelley accept a dogmatic view of it, while Yeats escapes dogmatism."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

In the year 2035, scientist Ewing is the last person left alive on earth. With an all-encompassing mantle of ice overtaking the planet, he has just three days of energy left; then, he too, will succumb, just as the others. He's the only one able to communicate the final episode in humanity's long, sad story. In the time he has left, Ewing examines the main causes that are responsible for the planet's demise. How did man's undisciplined actions jeopardize the future of his planet? The Echo of Silence addresses these issues and is an in-depth consideration of God, creation, and the time continuum. This narrative covers the birth of the universe, the origins of man, and the inept stewardship of the planet. It discusses the two most powerful and destructive factions that kept the masses in a perpetual state of confusion and doubt over the source of creation. It shows how the debate, lasting four hundred years, was self-defeating, as neither science nor religion could claim ownership of the genesis until they recognized the omnipotent nature and true function of the time continuum.

In June 2015, the Supreme Court declared that marriage violates the United States Constitution. The federal court marriage decisions, culminating in the 2015 Supreme Court decision, are a symptom of a potentially fatal condition impacting American society. The foundation of the American experiment in self-government is a common core of objective foundational truths. These are not sectarian or doctrinal truths. Rather, they are the echo of the Judeo-Christian principles that have been the basic foundation stones of Western civilization. In When the Echo Dies, recent federal court cases overturning State laws and State constitutional amendments on civil marriage and the Supreme Court cases finding traditional civil marriage to be an unconstitutional institution are examined in detail to determine whether the premises used by the federal courts are a reflection or a rejection of the foundational echo that gave birth to America. The examination of these decisions leads to the inevitable conclusion that much of the federal judiciary and the majority of the Supreme Court has either lost the ability to hear the foundational echo or actively reject it. Whether from active choice or passive disability, the end result is a form of judicial tyranny, as the federal courts usurp the American democratic process. But it is not too late. We must rediscover and reengage the echo to preserve the American experiment. This involves many voices in a pluralistic society. We must reject the gag order of political correctness and have the conversation. Forced conformity, moral nihilism, utopian social planning, and the raw use of governmental power to build a better world has never yielded a good result. Only a people who together hear the echo of foundational objective truths can self-govern. We must become that people once again. America is at risk. When the echo dies, so does America.

In the late nineteenth century, a thriving immigrant population supported three German-language weekly newspapers in Arkansas. Most traces of the community those newspapers served disappeared with assimilation in the ensuing decades—but luckily, the complete run of one of the weeklies, Das Arkansas Echo, still exists, offering a lively picture of what life was like for this German immigrant community. “Das Arkansas Echo”: A Year in the Life of Germans in the Nineteenth-Century South examines topics the newspaper covered during its inaugural year. Kathleen Condray illuminates the newspaper’s crusade against Prohibition, its advocacy for the protection of German schools and the German language, and its promotion of immigration. We also learn about aspects of daily living, including food preparation and preservation, religion, recreation, the role of women in the family and society, health and wellness, and practical housekeeping. And we see how the paper assisted German speakers in navigating civic life outside their immigrant community, including the racial tensions of the post-Reconstruction South. “Das Arkansas Echo”: A Year in the Life of Germans in the Nineteenth-Century South offers a fresh perspective on the German speakers who settled in a modernizing Arkansas. Mining a valuable newspaper archive, Condray sheds light on how these immigrants navigated their new identity as southern Americans.

It is fall in Philadelphia and the mutilated body of a man has been found in one of the poorest neighbourhoods of the city. The victim has been tortured to death. It's the work of a sick mind in free fall. When homicide detectives Kevin Byrne and Jessica Balzano investigate, they realise that their crime scene is linked to the past.

It is fall in Philadelphia and the mutilated body of a man has been found in one of the poorest neighbourhoods of the city. The victim has been tortured to death. It's the work of a sick mind in free fall. When homicide detectives Kevin Byrne and Jessica Balzano investigate, they realise that their crime scene is linked to the past.