A true account of life and death on the front lines of the drug wars follows the adventures of a DEA officer as he risks death to take on Columbian drug lords. Reprint. K.
“MICHAEL CRICHTON meets STEPHEN KING at their finest … with the creepiest opening I’ve ever read.” — Lisa Gardner * “Joins the ranks of classic paranoid thrillers about human achievement run amok, with STEPHEN KING’s The Stand and Michael Crichton’s Terminal Man.” — Joseph Finder * “A heart-stopping thriller. … a must-read for MICHAEL CRICHTON fans.” — Dallas Morning News * “Similar in atmosphere and style to MICHAEL CRICHTON and STEPHEN KING. ... A race-against-the-clock thriller.” — Booklist FLIGHT 194 LANDED. SOMETHING LETHAL AWAITS OUTSIDE. THIS IS DEAD ON ARRIVAL. An airplane touches down at a desolate airport in a remote Colorado ski town. Shortly after landing, Dr. Lyle Martin, a world-class infectious disease specialist, is brusquely awakened to shocking news: Everyone not on the plane appears to be dead. The world has gone dark. While they were in the air, a lethal new kind of virus surfaced, threatening mankind's survival, and now Martin—one of the most sought-after virologists on the planet until his career took a precipitous slide—is at the center of the investigation. Moving at lightning pace from the snowbound Rockies to the secret campus of Google X, where unlimited budgets may be producing wonders beyond our capacity to control, Dead on Arrival is a brilliantly imaginative, intricately plotted thriller that draws on Matt Richtel's years of science and technology reporting for the New York Times, and establishes him as one of the premier thriller writers working today.
THE DAYS BETWEEN Christmas and New Year’s Eve are dead days, when spirits roam and magic shifts restlessly just beneath the surface of our lives. A magician called Valerian must save his own life within those few days or pay the price for the pact he made with evil so many years ago. But alchemy and sorcery are no match against the demonic power pursuing him. Helping him is his servant, Boy, a child with no name and no past. The quick-witted orphan girl, Willow, is with them as they dig in death fields at midnight, and as they are swept into the sprawling blackness of a subterranean city on a journey from which there is no escape. Praise for The Book of Dead Days: “Beautifully paced and sometimes blood-soaked. . . . A very tangible sense of evil.”—The Guardian “Subtle menace and power.”—The Independent “Packed with drama, mystery, and intrigue.”—The Bookseller
Messenger Melina Markowitz delivers the post for the otherworldly beings in her community. Recently, however things have started to go wrong. There are two men who have bitten the dust after a delivery from Melina and even her boyfriend, policeman Ted Goodnight, has started to ask questions. As she tries to put together the pieces of this puzzle, she discovers that the two victims share common friends, common unexplained absences and a common crime. Now, dark forces from the local community have been unleashed, drawing Melina into the web of a powerful woman...
In the midst of a catastrophic August rainstorm, a grisly discovery shatters the serenity of a summer evening in northern Wisconsin. Moving quickly to prevent a panic among tourists, Loon Lake Police Chief Lewellyn Ferris enlists the forensic and interrogation skills of her close friend and fellow fly fisherman, the retired dentist "Doc" Osborne. Within hours of launching their investigation, they find themselves faced with a national media circus as Loon Lake becomes the focus of a murderous scenario that links the murder to the race for the U.S. Senate by a woman who is heir to a Northwoods fortune and other, less savory, family traditions. In the meantime, Doc Osborne's eldest daughter, Mallory, enters into a relationship that may put her life at risk--unless her father and Chief Ferris can find the killer stalking the residents of Loon Lake.
Apparently, this freaky phenomenon of stepping into someone else’s life—and their body!—has a name: Temp Lifer. Thanks to my dead grandmother, it’s happened again. So now I’m hungover and gazing in the mirror at ... my boyfriend’s sister. Grammy, help!
The New Book of the Dead is written specifically for Westerners. It is a detailed guide for dealing with death and bereavement in all its forms: natural and violent, children and old people. It describes rites of preparation - such as the ritual cutting of the silver cord, and the blessing and license to depart, saying goodbye and letting go of the physical realm. This is not a book of sorrow and foreboding, but teaches us how to accept and even welcome death, as a great teacher, the last great mystery and culminating experience of life.
It’s drow god vs. drow god in this thrilling second installment of the Lady Penitent series When drow goddesses Lolth and Eilistraee sit down to a game of sava, they play for control of the dark elves of Faerûn and their own immortality. Unable to resist such high stakes, Kiaransalee—the goddess of the dead and of vengeance—asks to join the fray, turning the game into an even more cutthroat race for power. Though the goddesses' drow pawns will survive the game, the very nature of what it means to be a dark elf may change forever.
During a writing career lasting nearly seven decades, E. Hoffman Price formed lasting friendships with many of the great and near-great fictioneers, editors and artists of his day -- H.P. Lovecraft, Robert E. Howard, Clark Ashton Smith, Otis Adelbert Kline, Farnsworth Wright, W.K. Mashburn, Ralph Milne Farley, Seabury Quinn, Hugh Rankin, Robert Spencer Carr, Barsoom Badigian, Harry Olmstead, Albert Richard Wetjen, Norbert W. Davis, Milo Ray Phelps, William S. Bruner, Henry Kuttner, Jack Williamson, August Derleth and Edmond Hamilton. Through long correspondence and many cross country trips, E. Hoffman Price kept diaries of his visits, which from time to time he transformed into essays recalling the grand old days of the fictioneer's precarious way of life. Several essays were previously published in fanzines and as Arkham House book introductions. In 1977, Price rewrote these and added additional essays to fill a book. This is one of the most fascinating and historically important books about the pulp fiction era.
Why, alone among industrial democracies, does the United States not have national health insurance? While many books have addressed this question, Dead on Arrival is the first to do so based on original archival research for the full sweep of the twentieth century. Drawing on a wide range of political, reform, business, and labor records, Colin Gordon traces a complex and interwoven story of political failure and private response. He examines, in turn, the emergence of private, work-based benefits; the uniquely American pursuit of "social insurance"; the influence of race and gender on the health care debate; and the ongoing confrontation between reformers and powerful economic and health interests. Dead on Arrival stands alone in accounting for the failure of national or universal health policy from the early twentieth century to the present. As importantly, it also suggests how various interests (doctors, hospitals, patients, workers, employers, labor unions, medical reformers, and political parties) confronted the question of health care--as a private responsibility, as a job-based benefit, as a political obligation, and as a fundamental right. Using health care as a window onto the logic of American politics and American social provision, Gordon both deepens and informs the contemporary debate. Fluidly written and deftly argued, Dead on Arrival is thus not only a compelling history of the health care quandary but a fascinating exploration of the country's political economy and political culture through "the American century," of the role of private interests and private benefits in the shaping of social policy, and, ultimately, of the ways the American welfare state empowers but also imprisons its citizens.