A young Scottish girl has little use for her gift of second sight until the day the ghosties came.
Matt Blake, is a heart old banker, who never had any compassion for his employees. He did not pay them generously, to put it mildly, and he fired them for outrageous reasons, like they have been sick and left work for a day. One fine day, Blake is holding a meeting at the First Central Bank of East Main where he works as the president of the bank. He leers at a pretty blond haired woman with blue eyes and ample breasts who walks into the building. The great-looking woman happens to carry a sawed-off shotgun and orders the bank employees to give her money in bags. The workers obey her. When Blake tried to intervene, she shoots him down.
Before security guards could stop her, she rushes to an elevator with the money she just robbed. Of course, security guards are waiting for her on the upper floor, however, the woman mysteriously disappears on her way there. Nobody can understand how and where she could escape, along with the money she robbed. When the doors of the elevator slide open, nobody is there. Who killed Matt Blake? Where did she go? Match wits with Alex French and see if you can catch the killer.
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From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
Evolve opens with the FDA rejecting a genetic therapy that cures breast cancer and unfolds into a political, philosophical, and scientific drama that will have readers asking questions about a fictional world that are more appropriately asked of the real one. The FDA rejects a new breast cancer therapy and scheming politicians stoke public outrage against the drug’s creators, claiming the drug would only be available to the wealthy and would be used as a weapon of genetic warfare against minorities and the poor. The scientists who created the drug are baffled and deeply depressed by the furor over their life-saving creation and are eventually driven to leave their entire lives’ work, going into hiding from a world hostile to everything in which they believe. Politicians manipulate each other and the public for power, the company which created the drug struggles to maintain its independence from an impending government take-over, and investors and rival companies must choose sides in a political war. Billion dollar budgets, entire industries, individuals who might be saved by drugs that will never exist, and the Presidency are the casualties of the deception, manipulation, power struggles, and fighting of Evolve. In Evolve, actions are shown to have their logical if unintended consequences; people are driven by unrecognized but ever-present incentives; and the way the world works is made apparent in the order that ultimately emerges. Evolve presents the reader with a grandiose vision of the world. Politicians meddle with the economy; regulation is used to protect people from themselves and destroy enemies; scientists scheme to better their own careers while feigning to seek the truth in nature; and business leaders are shown to be geniuses, corrupt, humanitarians, and sleazy opportunists. Readers will come to see slivers of each of the novel’s characters in the people in their own lives. Human evolution, achievement, and the value of freedom are the novel’s core themes. Evolve is Jurassic Park meets Atlas Shrugged with a timely and time narrative.
No family photograph can truly prepare Rowena for her first meeting with Maurice's three wives and teenage son. Young, nervous and extremely pregnant, she is warmly welcomed into the fold but her presence soon has the family questioning the nature of their delicate balance.
Then Fay brings home a one-night stand, with far-reaching consequences for them all. Set in an ordinary house in a tree-lined street in Lewisham, Matt Charman's new play takes a provocative look at married life, and the alternatives.
Drawn from more than twenty of the books of Thich Nhat Hanh, these are the essential writings of one of the most popular spiritual writers of today. Thought-provoking and inspiring, this selection is aimed at the mind, body and spirit.
In 2010, David Mogolov began a series of three comedic monologues that left audiences questioning their life decisions small and large, from their flossing habits to their anger at Ponzi schemers. A hilarious, deep dive into the limits of human rationality, Mogolov's comedy also presents history's most thorough analysis of the smell of a Subway sandwich. In This Could Have Gone Worse, the trilogy of shows is annotated and expanded with commentary on how they were written and produced, with an honest account of what failed and what succeeded, and why. The notes and new chapters look at it from both the perspective of Mogolov and his director, Steve Kleinedler.
Anybody interested in the process of writing and performing comedy is likely to find the book an insightful and funny look into the process of creating small-stage comedy that wrangles with big-stage issues.