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Witnessing a murder places a woman in harm’s way . . . and under the protection of her Mountie ex in this inspirational romantic suspense thriller. After Ellen Biers witnesses a theft turned homicide, the killer targets her. But her childhood crush, Mountie Leo Thrace, vows to protect her. Leo plans to keep his long-ago promise to Ellen’s brother—and his best friend—that he’d never date her. But with a killer determined to leave no loose end untied, keeping Ellen close might be the only way to save her.
Kurt Nobel, known as "The Real Estate King," invites a mixture of odd guests to his mansion on the Isle of Ease for a week of snorkeling, scuba diving, deep-sea fishing, and general fun in the sun. The occasion is to celebrate the millionaire's recent marriage to his new young wife, singer Barbie. But all is not pure pleasure and merriment on the tropical island. One person plans an intriguing way to commit murder, and may get away with it, if not for the fortuitous eyewitness, eight-year-old Evie Frederique.
How free is the Northern Irish writer to produce even a short poem when every word will be scrutinised for its political subtext? Is the visual artist compelled to react to the latest atrocity? Must the creative artist be aware of his or her own inculcated prejudices and political affiliations, and must these be revealed overtly in the artwork? Because of these and other related questions, the recent work by Northern Irish writers and visual artists has been characterised by an inward-looking self-consciousness. It is an art that relays its personal responses in guarded, often coded ways. Characterised by obliquity and self-reflexivity, the art does not simply re-present events and the artistâ (TM)s emotive response towards them; rather, it calls attention to the manner of its presentation. It is an art about art, and its role and place in society. Governing the Tongue examines how the creation of art in a time of violence brings about an anxiety in the Northern Irish artist regarding his or her artistic role, and how it calls into question the ability to represent events. The series of essays is inter-disciplinary in its approach, exploring the place of art â " its role and location â " in the work of key Northern Irish writers (Ciaran Carson, Seamus Deane, Brian Friel, Seamus Heaney, Michael Longley, Medbh McGuckian, Eoin McNamee, Glenn Patterson) and visual artists (Willie Doherty, Rita Donagh, Paul Seawright, Victor Sloan).
Addressing the specific issues surrounding wrongful convictions and their implications for society, Convicted but Innocent includes: survey data concerning the possible magnitude of the problem and its causes; fascinating actual case samples; detailed analyses of the major factors associated with wrongful conviction; discussion of public policy implications; and recommendations for reducing the occurrence of such convictions. The authors maintain that while no system of justice can be perfect, a focus on preventable errors can substantially reduce the number of current conviction injustices.