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The second book in the steamy, romantic Body Finder thriller series by Kimberly Derting. Violet and Jay are finally dating, but adjusting to the new relationship is not as easy as Violet anticipated. Especially when she has to split Jay’s time and attention with his new best friend, Mike, and Mike’s pesky younger sister—who happens to be obsessed with Jay. Meanwhile, when Violet’s special abilities lead her to the body of a young boy, her tip to the police puts her on the radar of the FBI. Violet tries to fend off the FBI’s questions while maintaining the semblance of a normal life, but somebody’s leaving her threatening notes and an echo around Mike’s house reinforces that all is not right. Violet is forced to admit that perhaps the only people who can help her figure it out are the very people she’s desperate to avoid—the FBI. Desires of the Dead is the compulsive second book in the four-book Body Finder series by Kimberly Derting.
Violet Ambrose is grappling with two major issues: Jay Heaton and her morbid secret ability. While the sixteen-year-old is confused by her new feelings for her best friend, she is more disturbed by her "power" to sense dead bodies - or at least those that have been murdered. Since she was a little girl, she has felt the echoes the dead leave behind in the world...and the imprints that attach to their killers. Violet has never considered her strange talent to be a gift, but now that a serial killer is terrorizing her small town Violet realizes she might be the only person who can stop him. Despite his fierce protectiveness over her, Jay reluctantly agrees to help Violet find the murderer - and Violet is unnerved by her hope that Jay's intentions are much more than friendly. But even as she's falling in love, Violet is getting closer to discovering a killer...and becoming his prey herself.
“Dear Ava, I loved your book.” —Award-winning actress Emma Watson For fans of Kathleen Glasgow and Amber Smith, Ava Dellaira writes about grief, love, and family with a haunting and often heartbreaking beauty in this emotionally stirring, critically acclaimed debut novel, Love Letters to the Dead. It begins as an assignment for English class: Write a letter to a dead person. Laurel chooses Kurt Cobain because her sister, May, loved him. And he died young, just like May did. Soon, Laurel has a notebook full of letters to people like Janis Joplin, Amy Winehouse, Amelia Earhart, Heath Ledger, and more—though she never gives a single one of them to her teacher. She writes about starting high school, navigating new friendships, falling in love for the first time, learning to live with her splintering family. And, finally, about the abuse she suffered while May was supposed to be looking out for her. Only then, once Laurel has written down the truth about what happened to herself, can she truly begin to accept what happened to May. And only when Laurel has begun to see her sister as the person she was—lovely and amazing and deeply flawed—can she begin to discover her own path.
In the end, all that's left is an Echo. Before, Violet's morbid ability to sense the dead led her to uncover dark murders and long-buried secrets in her small town. Now that she's working with a special investigative team, Violet hopes she can help even more people—whether by saving a life or catching a killer. Although she's relieved to finally be honest about what she can do, her instant connection with her mysterious partner, Rafe, is both confusing and unsettling, and their unique bond creates tension with her boyfriend, Jay. When she discovers the body of a college student murdered by "the collector," Violet refuses to give up on the case. With her own relationship on the line, Violet doesn't realize that the serial killer is looking to add to his collection and that she may have caught his eye. Will the life Violet has to save be her own?
Edinburgh's most famed detective duo—"Nine-Nails" McGray and Inspector Ian Frey—face their most metaphysical mystery yet, as they investigate a series of crimes surrounding the miraculous waters in the remote Loch Maree. A mysterious woman pleads for the help of Inspectors Frey and "Nine-Nails" McGray. Her son, illegitimate scion of the Koloman family, has received an anonymous death threat—right after learning he is to inherit the best part of a vast wine-producing estate. In exchange for their protection, she offers McGray the ultimate cure for his sister, who has been locked in an insane asylum after brutally murdering their parents: the miraculous waters that spring from a small island in the remote Loch Maree. The island has been a sacred burial ground since the time of the druids, but the legends around it will turn out to be much darker than McGray could have expected. Murder and increasingly bizarre happenings will intermingle throughout this trip to the Highlands, before Frey and McGray learn a terrible truth.
It is possible for an act to wrongfully harm a person, even if the act takes place after the person is dead. David Boonin defends this view in Dead Wrong and explains the puzzle of posthumous harm. In doing so, he makes three central claims. First, that it is possible for an act to wrongfully harm a person while they are alive even if the act has no effect on that person's conscious experiences. Second, that if this is so, then frustrating a person's desires is one way to wrongfully harm a person. And third, that it is possible for an act to wrongfully harm a person even if the act takes place after the person is dead. Over the course of the book, Boonin introduces the significance of posthumous harm, deals with each of his three main claims in turn, responds to the objections that might be raised against the book's thesis, and examines some of the ethical implications for issues such as posthumous organ and gamete removal, posthumous publication of private documents, damage to graves and corpses, and posthumous punishment and restitution.
The highly anticipated new thriller from the USA Today bestselling author of The Perfect Marriage. Opulence. Sex. Betrayal ... Sometimes friendship can be deadly. Meet the women of Buckhead—a place of expensive cars, huge houses, and competitive friendships. Shannon was once the queen bee of Buckhead. But she’s been unceremoniously dumped by Bryce, her politician husband. When Bryce replaces her with a much younger woman, Shannon sets out to take revenge ... Crystal has stepped into Shannon’s old shoes. A young, innocent Texan girl, she simply has no idea what she’s up against ... Olivia has waited years to take Shannon’s crown as the unofficial queen of Buckhead. Finally, her moment has come. But to take her rightful place, she will need to use every backstabbing, manipulative, underhand trick in the book ... Jenny owns Glow, the most exclusive salon in town. Jenny knows all her clients’ secrets and darkest desires. But will she ever tell? Who amongst these women will be clever enough to survive Buckhead—and who will wind up dead? They say that friendships can be complex, but no one said it could ever be this deadly.
A searing anatomy of a New Orleans murder trial and a system of justice gone wrong. In a New Orleans supermarket parking lot in the fall of 1984 ,two disparate lives become inextricably bound for the next fourteen years. The first, the life of Delores Dye, a white housewife and grandmother. The second, a young black man with a gun in hand. Moments following their maybe not so chance encounter, Mrs. Dye lay dead on the sunbaked macadam, and the killer had made off with her purse, her groceries, and her car. Four days later, following a tip, authorities arrested a known drug dealer and father of five named Curtis Kyles. Kyles would then be tried for Mrs. Dye's murder an unprecedented five times, though he maintained his innocence throughout each trial. Convicted and sentenced to death in his second trial, he would spend fourteen years on death row. After a fifth jury was unable to reach a verdict, New Orleans Parish District Attorney Harry Connick, Sr., finally conceded defeat and dropped the murder charge. But the case slowly yielded a deeper drama: The crime turned out to have been the side effect of an intricately plotted act of revenge. That police and prosecutors may have been complicit in the vengeance that framed Kyles cuts to the heart of a system of justice for Southern blacks in the era since lynch mobs were shamed into obsolescence. A compellingly written legal drama that has at its heart passionate intrigue and justice gone awry. Desire Street is a 2006 Edgar Award Nominee for Best Fact Crime.
A whimsical treasury of biographical profiles of famous and lesser-known individuals now dead includes hundreds of entries that reveal embarrassing-but-true details typically omitted by official biographers. Co-authored by the award-winning producer of Blackadder and the writer of QI.
This book is another one of those late-night Grateful Dead inspired dorm room conversations with friends . . . only this time it’s your professors sitting cross-legged on the floor asking if anyone else wants to order a pizza. The Grateful Dead emerged from the San Francisco counter-culture movement of the late 1960s to become an American icon. Part of the reason they remain an institution four decades later is that they and their fans, the Deadheads, embody deviation from social, artistic, and industry norms. From the beginning, the Grateful Dead has represented rethinking what we do and how we do it. Their long, free-form jams stood in stark contrast to the three minute, radio friendly, formulaic rock that preceded them. Allowing their fans to tape and trade recordings of shows and distributing concert tickets themselves bucked the corporate control of popular music. The use of mind-altering chemicals questioned the nature of consciousness and reality. The practice of “touring,” following the band from city to city, living as modern day nomads presented a model distinct from the work-a-day option assumed by most in our corporate dominated culture. As a result, Deadheads are a quite introspective lot. The Grateful Dead and Philosophy contains essays from twenty professional philosophers whose love of the music and scene have led them to reflect on different philosophical questions that arise from the enigma that is the Grateful Dead. Coming from a variety of perspectives, ancient and modern, Eastern and Western, The Grateful Dead and Philosophy considers how the Grateful Dead fits into the broader trends of American thought running through pragmatism and the Beat poets, how the parking lot scene with its tie-dyed t-shirt and veggie burrito vendors was both a rejection and embrace of capitalism, and whether Jerry Garcia and the Buddha were more than just a couple of fat guys talking about peace. The lyrics of the Grateful Dead’s many songs are also the basis for several essays considering questions of fate and freedom, the nature-nurture debate, and gamblers’ ethics.