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Bill Lockwood, a detective for the Transatlantic Underwriters Insurance Company, investigates a fire due to arson at a popular New York City nightclub.
Bill Lockwood, a detective for the Transatlantic Underwriters Insurance Company, investigates a fire due to arson at a popular New York City nightclub.
Meredith Willis is suspicious of Adrien, the new guy next door. When she dares to sneak a look into the windows of his house, she sees something in the cellar that makes her believe that Adrien might be more than just a creep—he may be an actual monster. But her sister, Heather, doesn’t share Meredith’s repulsion. Heather believes Adrien is the only guy who really understands her. In fact, she may be falling in love with him. When Adrien and Heather are cast as the leads in the school production of Romeo and Juliet, to Heather, it feels like fate. To Meredith, it feels like a bad omen. But if she tries to tear the couple apart, she could end up in the last place she’d ever want to be: the cellar. Can Meredith convince her sister that she’s dating the living dead before it’s too late for both of them?
From January to April 2000 historian David Irving brought a high-profile libel case against Penguin Books and Deborah Lipstadt in the British High Court, charging that Lipstadt's book, Denying the Holocaust (1993), falsely labeled him a Holocaust denier. The question about the evidence for Auschwitz as a death camp played a central role in these proceedings. Irving had based his alleged denial of the Holocaust in part on a 1988 report by an American execution specialist, Fred Leuchter, which claimed that there was no evidence for homicidal gas chambers in Auschwitz. In connection with their defense, Penguin and Lipstadt engaged architectural historian Robert Jan van Pelt to present evidence for our knowledge that Auschwitz had been an extermination camp where up to one million Jews were killed, mainly in gas chambers. Employing painstaking historical scholarship, van Pelt prepared and submitted an exhaustive forensic report that he successfully defended in cross-examination in court.
A probing analysis of Black women's attempts to pursue justice for sexual-violence victims within often hostile social and legal systems In Bodies in the Middle: Black Women, Sexual Violence, and Complex Imaginings of Justice, Maya Hislop examines the lack of place that Black women experience, specifically when they are victims of sexual violence. Hislop uses both historical and literary analyses to explore how women, in the face of indifference and often hostility, have sought to redefine justice for themselves within a framework she calls "Afro-pessimistic justice." Afro-pessimism begins from the belief that Black life in America, and in turn the American justice system, is constrained within a framework of anti-Blackness meant to enforce white supremacy. Inspired by the work of Black-studies luminaries such as Orlando Patterson, Sylvia Wynter, and Fred Moten, Hislop asks what justice can look like in the absence of total victory and how Black women have attempted to define alternative paths to a just future.