She fooled him once ? In Los Angeles an unexpected pregnancy sparks a daring plan of escape for a brutally battered wife. Jessica Ramsey fakes her death and flees to Tennessee to build a new life for herself and her unborn son. But nobody fools Cole Ramsey twice ? Five years later, a chance encounter has destroyed Jessica?s carefully cultivated anonymity. She thought at first Cole had found her, but it was his twin, Alex, who unwittingly unmasked her charade. Now she must trust him to save her from Cole?s wrath. But the twins are bound by blood. Will it prove stronger than the fragile relationship building between Alex and Jessica? Or will a third time be a deadly charm?

Biblical commentary spanning from Adam and Eve through Cain and Abel. Includes the original 1,000-year-old text in Hebrew, along with a ground breaking analysis of Torah commentary.

It is never wise to make a vow and not keep it, especially when the vow was made to God. God has warned, “When thou vowest a vow unto to God, defer not to pay it: for He hath no pleasure in fools: pay that which thou hast vowed. Better is it that thou shouldest not vow, than that thou shouldest vow and not pay.” America made a vow to God. She promised to be one nation under God and avowed to observe His laws and statues. However, this vow has been largely unpaid, and America’s observance of the laws of heaven are constantly fading. Therefore, the same God America made her vow to will now be the God that judges her. For no one, no king or nation is above God’s law, not even America.

Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.