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In the Edgar Award–winning crime series featuring a veteran Moscow cop, “Kaminsky evokes Russian life like a born Muscovite” (The Philadelphia Inquirer). During the widespread corruption of the Yeltsin era, violent crime has risen in Moscow by 200 to 300 percent, keeping Inspector Porfiry Rostnikov and his team at the Office of Special Investigation busier than ever. So it’s fortunate that having his bad leg amputated six months ago and replaced by a prosthetic limb has not slowed down the veteran Moscow cop one bit. Now he’s investigating a hate-fueled crime wave, as a bloodthirsty gunman wages a campaign to systematically exterminate the city’s Jews. At the same time, a knife-wielding rapist is running rampant. Despite the urgent demand to end the mayhem, the inspector finds himself most intrigued by a centuries-old mystery concerning a murdered baroness and a priceless golden wolf statue that has been missing since 1862. Stuart Kaminsky’s long-running, Edgar Award–winning series has seen his intensely moral Moscow police inspector through the turbulence of several regimes, and always “Kaminsky takes care not to rob his beleaguered cops of their human core” (The New York Times).
Shape-shifter pack leader Andrew Dare has found his mate in Silver, but they haven't found the pack they can call home.
Owning Up argues that from its beginning the U.S. discourse on privacy has been couched in terms of violation and dispossession, so that even as nineteenth-century Americans came to regard privacy as a natural right, and to identify it with sacred ideals of democratic freedom and individuality, they also understood it as under threat or erasure. Using biographical and autobiographical writing as her primary archive, Adams traces the public narrative of imperiled privacy across five centuries. Her analyses begin with the premise that nineteenth-century conceptions of privacy became meaningful only in negative relation to the encroaching forces of market capitalism and commodification. Where previous studies treat privacy as a stable category whose defining features are middle-class domesticity and femininity, Owning Up contends that privacy is an empty category that lacks fixed content and requires constant re-articulation via panic narratives in which gender always operates in intersection with race. Chapters look at how the discourse of imperiled privacy develops in conjunction with Romantic idealism and antebellum reform, racial reconstruction and the ethic of self-right, and Social Darwinist laissez faire, and culminates at the end of the century in calls for legislation to protect the American individual's "right to be let alone."
For a man who just wants to ease through life without any complications, Lew Fonesca has a pretty full plate in his third outing. When people start showing up dead, he knows he's in way over his head.
Lew Fonesca is faced with one case that will try his patience and another that may break his heart. He finds that they are tied together in ways he can't hope to untangle.
In recent years, a new market of convergence culture has developed. In this new market, one story, idea, concept, or product can be produced, distributed, appreciated, and understood by customers in a variety of different media. We are at the tipping point of this new convergence culture, and comics is a key area affected by this emerging model. In Comics for Film, Games, and Animation Tyler Weaver teaches you how to integrate comics storytelling into your own work by exploring their past, present, and future. You will explore the creation of the unique mythologies that have endured for more than seventy years, and dig into the nitty gritty of their creation, from pacing and scripting issues to collaboration. Finally, you'll gain a love and appreciation of the medium of comics, so much so that you won't be able to wait to bring that medium into your story toolbox.
“Never miss a Kaminsky book, and be especially sure not to miss Death of a Russian Priest.” —Tony Hillerman, New York Times–bestselling author In the darkest hours of communist rule, Father Merhum fought to protect the sanctity of the Orthodox Church. Now the Soviet Union is gone, but the bureaucracy survives, and within it lurk men who would do anything to undermine the fragile new Russian democracy. Father Merhum is on his way to Moscow to denounce those traitors when he is struck with an ax and killed. As police inspectors Porfiry Rostnikov and Emil Karpo dig into the past of this celebrated village priest, they uncover strange church secrets and a conspiracy to carry the vile corruption of the former regime on into the twenty-first century. But if they don’t watch their steps, someone may need to say the last rites for them. With the Edgar Award–winning Inspector Porfiry Rostnikov series, “Stuart Kaminsky evokes Russian life like a born Muscovite. . . . Don’t miss this one. It’s even better than his Edgar-winning A Cold Red Sunrise.” —The Philadelphia Inquirer “Kaminsky moves closer to becoming the Ed McBain of Mother Russia . . . The usual strengths of the series—ingenious plotting, solid police procedure, and Rostnikov’s shrewdly perceptive presence—are joined here by casually effective glimpses of the old Soviet Union in chancy transition. It all adds up to Rostnikov’s best outing since A Cold Red Sunrise.” —Kirkus Reviews
“Kaminsky gets Russia right, and Cuba right, but best of all he gets his superb cop Rostnikov altogether right yet another time. Bravo!” —Ed McBain The Soviet Union is dead, and Russian society has been fractured into a thousand pieces. Through those cracks seeps the first serial killer in the country’s history, whose exploits send Moscow into a frenzy. As his colleagues hunt for the pipe-wielding maniac who’s killed forty women so far, police inspector Porfiry Rostnikov must depart for Havana to avoid an international incident. First, Rostnikov must confront his fear of flying—or more specifically, flying on Russian airplanes. Assuming he lands safely in Havana, this case will require the utmost diplomacy. A Russian politician is accused of murdering a young Cuban woman. Rostnikov’s superiors want things wrapped up cleanly and quickly. Unfortunately, their man in Havana is about to discover there is nothing simple about this murder. “In a style reminiscent of Martin Cruz Smith in Gorky Park, Kaminsky effectively transplants the police procedural to the fertile ground of ‘democratic’ Russia, where it blossoms anew . . . An excellent novel.” —Booklist
In an era of financial free-for-all in Russia, a Moscow cop deals with rampant crime in a “terrific” and “exceptional” police drama (Detroit Free Press). It’s the mid-nineties, and capitalism and privatization have come to Russia. As the trickle of cash turns to a torrent, bureaucrats become oligarchs, and the brutal Russian mafia is on the rise. Newfound democracy has not reduced the crime rate, and Inspector Porfiry Rostnikov, a forty-year veteran of the Moscow police department, and his colleagues have their hands full. A prominent businessman is kidnapped in broad daylight. Three children—as innocent looking as they are savage—terrorize a slum. And a house full of Czarist treasures is raided by tax police—only to have every piece vanish the following day. As criminals at all levels rush to exploit a system in confusion, “Inspector Porfiry Rostnikov is a rarity among policemen: shrewd, utterly incorruptible and destined to survive each complex political shift” (Publishers Weekly, starred review).
Helps each reader unleash his or her innate creative skills based on a unique personality type and succeed in every endeavor. Original. 20,000 first printing.