Fifteen-year-old Jeff Jacobson learns that not only was he cloned from infamous serial killer Jeffrey Dahmer's blood as part of a top-secret government experiment, but there are other clones like him and he is the only one who can track them down before it is too late.
When clones of infamous serial killers escape from a secret government facility, it’s up to a former Army Ranger to stop them…with the help of a teenage killer clone. The DNA of the world’s most notorious serial killers—including Ted Bundy, The Son of Sam, and The Boston Strangler—has been cloned by the US Department of Defense to develop a new breed of bioweapon. Now in Phase Three, the program includes dozens of young men who have no clue as to their evil heritage. Playing a twisted game of nature vs. nurture, scientists raise some of the clones with loving families and others in abusive circumstances. But everything changes when the most dangerous boys are set free by their creator. A man with demons of his own, former black ops soldier Shawn Castillo is hot on the clones’ trail. But Castillo didn’t count on the quiet young man he finds hiding in an abandoned house—a boy who has just learned he is the clone of Jeffrey Dahmer. As Jeffrey and Castillo race across the country after the rampaging teens, Castillo must protect the boy who is the embodiment of his biggest fears—and who may also be his last hope. “A wild, peek-through-your fingers scare ride” (Paul Tremblay, author of The Little Sleep), Cain’s Blood melds all-too-plausible science and ripped-from-the-headlines horror into a stunning work about the potential for good and evil in us all.
Cain made the first blackface turn, blackface minstrels liked to say of the first man forced to wander the world acting out his low place in life. It wasn't the "approved" reading, but then, blackface wasn't the "approved" culture either--yet somehow we're still dancing to its renegade tune. The story of an insubordinate, rebellious, truly popular culture stretching from Jim Crow to hip hop is told for the first time in Raising Cain, a provocative look at how the outcasts of official culture have made their own place in the world. Unearthing a wealth of long-buried plays and songs, rethinking materials often deemed too troubling or lowly to handle, and overturning cherished ideas about classics from Uncle Tom's Cabin to Benito Cereno to The Jazz Singer, W. T. Lhamon Jr. sets out a startlingly original history of blackface as a cultural ritual that, for all its racist elements, was ultimately liberating. He shows that early blackface, dating back to the 1830s, put forward an interpretation of blackness as that which endured a commonly felt scorn and often outwitted it. To follow the subsequent turns taken by the many forms of blackface is to pursue the way modern social shifts produce and disperse culture. Raising Cain follows these forms as they prolong and adapt folk performance and popular rites for industrial commerce, then project themselves into the rougher modes of postmodern life through such heirs of blackface as stand-up comedy, rock 'n' roll, talk TV, and hip hop. Formally raising Cain in its myriad variants, blackface appears here as a racial project more radical even than abolitionism. Lhamon's account of its provenance and persistence is a major reinterpretation of American culture.
A riveting investigation into how a restive region of China became the site of a nightmare Orwellian social experiment—the definitive police state—and the global technology giants that made it possible Blocked from facts and truth, under constant surveillance, surrounded by a hostile alien police force: Xinjiang’s Uyghur population has become cursed, oppressed, outcast. Most citizens cannot discern between enemy and friend. Social trust has been destroyed systematically. Friends betray each other, bosses snitch on employees, teachers expose their students, and children turn on their parents. Everyone is dependent on a government that nonetheless treats them with suspicion and contempt. Welcome to the Perfect Police State. Using the haunting story of one young woman’s attempt to escape the vicious technological dystopia, his own reporting from Xinjiang, and extensive firsthand testimony from exiles, Geoffrey Cain reveals the extraordinary intrusiveness and power of the tech surveillance giants and the chilling implications for all our futures.
This absorbing story follows the main character's struggle from poverty to becoming the greatest iron master in Pennsylvania. American author, Joseph Hergesheimer's novels are typically concerned with the rich and sophisticated setting of the very wealthy. His work is distinguished for the lushness of its descriptive passages and its psychological insights.
Fiction. In her debut collection of fifteen short stories, Amina Cain makes ordinary worlds strange and spare and beautiful. A woman carves invisible images onto ice, a pair of black wings appears in front of a house, and a restless teacher sits in a gallery of miniature rooms. As Miranda Mellis describes, "The revelatory pleasure and hope [in these stories] emanate from an artistry driven by ethical desire." "I highly recommend reading I Go To Some Hollow", says Bhanu Kapil, "because of what it teaches you about love, and the relationship between love and writing." I GO TO SOME HOLLOW is published as part of the TrenchArt: Tracer Series, with an Introduction by Bhanu Kapil and collaborative visual art by Ken Erhlich and Susan Simpson.
Discover how the lost art of wonder can help you cultivate greater creativity, resilience, meaning, and joy as you bring your greatest contributions to life. Beyond grit, focus, and 10,000 hours lies a surprising advantage that all creatives have—wonder. Far from child’s play, wonder is the one radical quality that has led exemplary people from all walks of life to move toward the fruition of their deepest dreams and wildest endeavors—and it can do so for you, too. “Wonder is a quiet disruptor of unseen biases,” writes Jeffrey Davis. “It dissolves our habitual ways of seeing and thinking so that we may glimpse anew the beauty of what is real, true, and possible.” Rich with wisdom, inspiring stories, and practical tools, Tracking Wonder invites us to explore how the lost art of wonder can inspire a life of greater joy, possibility, and purpose. You’ll discover: The six facets of wonder—key qualities to help you cultivate the art of wonder in your work, relationships, and lifeHow wonder can help us fertilize creativity, sustain the motivation to pursue big ideas, navigate uncertainty and crises, deepen our relationships, and moreThe biases against wonder—moving beyond societal and internalized resistance to our inherent giftsWhy experiencing wonder isn’t really about achieving goals—though that happens—but about how we live each dayInspiring stories of people whose experiences of wonder helped them move through the unthinkable to create extraordinary livesPractical exercises, tools, and reflections to help you begin your own practice of tracking wonder A refreshing counter-voice to the exhausting narrative hyper-productivity, Tracking Wonder is a welcome guide for experiencing more meaning and joy in the present moment as you bring your greatest contributions to life.
This is the journal of Joe Necchi, a junkie living on a barge that plies the rivers and bays of New York. Joe's world is the half-world of drugs and addicts -- the world of furtive fixes in sordid Harlem apartments, of police pursuits down deserted subway stations. Junk for Necchi, however, is a tool, freely chosen and fully justified; he is Cain, the malcontent, the profligate, the rebel who lives by no one's rules but his own. Like DeQuincey and Baudelaire before him, Trocchi's muse was drugs. But unlike his literary predecessors, in his roman a clef, Trocchi never romanticizes the source of his inspiration. If the experience of heroin, of the "fix," is central to Cain's Book, both its destructive force and the possibilities for creativity it creates are recognized and accepted without apology. "Cain's Book is the classic late-1950s account of heroin addiction. . . . An un-self-forgiving existentialism, rendered with writerly exactness and muscularity, set this novel apart from all others of the genre." -- William S. Burroughs