Book 4 of the Chameleon Assassin series, sequel to the award-winning Book 1, Chameleon Assassin. Even a chameleon can be a target. Libby makes her money as a thief and an assassin, but a girl has to have a cover. To her surprise, her business installing security systems in 23rd century Toronto is taking off, as is her romance with Wil-North America's top cop. Then an insurance company hires her to recover a fortune in stolen art and jewelry. Bring them the stolen goods and they'll pay an outrageous fee, no questions asked. The Vancouver art scene is hot, in more ways than one. Billionaires compete for bragging rights, and they aren't picky who they deal with. With big money and reputations on the line, Libby is on a collision course with the super-rich. When too many questions make the art thieves uncomfortable, one of the world's top assassins is hired to eliminate those who know too much-including Libby.

THE ACCLAIMED SEQUEL TO THE CHOSEN In desperation, the Ruling Lord Suth searches within the sacred walls of Osrakum for Carnelian, his son, and Osidian, the God Emperor elect. He suspects the Empress Ykoriana is behind their disappearance and knows that if they are not found soon it is her other son, Osidian's brother Molochite, who will rule - with fearful consequences for the Three Lands. Captive of the tribes of the Earthsky, Carnelian is - for the moment - safe, and succumbs readily to the seasonal rhythms of tribal life, he is convinced by unexpected discoveries that it is fate that has bought him there.He grows to love these simple people and hopes for sanctuary among them. But the dark forces Carnelian helped unleash in Osrakum begin to cast their shadow over his adopted home. He is witness to the awful oppression that the Masters - whom the tribesmen call the Standing Dead - have been inflicting on them for millennia. But even more terrible is the presence Carnelian has unwittingly brought with him. Potent and terrifying, it threatens everything he now holds dear in this new-found world. With The Standing Dead, Ricardo Pinto gives us a tumultuous new chapter in the Stone Dance of the Chameleon trilogy and confirms his place as one of fantasy's most singular and literate voices.

ᅠDance of the Chameleon, A Vietnam Medic s Story is an eyewitness account of both heroic and shameful events occurring during the Vietnam War. Decorated medic, James Squadrito, served in three venues in Vietnam where the experiences he recounts in the book were far too common. Rampant drug use among soldiers, sex-trafficking of Vietnamese women as young as twelve and thirteen years old both on and off base, ill-trained officers, and woefully prepared medics including himself were common realities during the war. Jim tells of incidences of soldiers he had to patch up who had shot themselves to get sent home, of dead soldiers who were shot by friendly fire in retaliation for their attempts at troop discipline, and racial infighting that mirrored the conflicts of the civil rights movement stateside. Arms trafficking and drug and artifact smuggling were standard crimes perpetrated by soldiers and officers. Fortunately, these and other inglorious moments were counterbalanced by self-sacrifice and heroism. Jim, who, chameleonlike, changed his colors from the spoiled frat boy to a productive citizen, recounts his personal journey of growth from cynicism to spirituality. After leaving the service and left scarred by his experiences, he would talk with other Vietnam soldiers at vets gatherings. These sessions were cathartic for him and provided a motivation to write this book, which he hopes will be a source of healing for his comrades who still haven t recovered from the ravages of the Vietnam conflict. There are over one hundred thousand medics in the United States who walked the tightrope of saving lives and being pulled into actual combat when enemy troops ignored the Geneva Convention protocols. This book is a tribute to them who put the lives of soldiers first above their own. ᅠ

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Aurelia of Rasil'yon, a young elfin sorceress, is poised to discover herself and her world. She embarks upon an epic journey that will take her to many countries, through many bodies and forms, and to dealings with many gods and goddesses, of foreign peoples for whom she once had naught but enmity. This odyssey shall not end until she herself ends--coming to the precipice of goddesshood, and to the end of her mortality. She must confront her elfin racism, the haughty curse of her people, and make common cause with orcs and dwarves and gnomes and humans of various nations. Only then is she able to catch a glimpse of the Codex--that tome of truth, inscrutable, that her Uncle Aurel died attempting to recover. Along the way, she meets and touches many beautiful souls, fights many more evil ones, and begins to learn the measure of her destiny. Will she learn the beauty of revolt and liberation, and win her fight against tyranny? Or will she succumb to the force of Madness in the cosmos, and become a God?

Dance of the Blue Chameleon is set in the northern regions of San Diego County and southern regions of Riverside County, California, in the mid-1980s. It’s a time before cell phones and the Internet when communications were manual, if not practical. It transpires in a region that would change dramatically in the years to come. The story revolves around a group of friends and acquaintances drawn together by an event that takes on new shapes and dimensions as it unfolds. From a simple traffic accident to a political scandal, its characters evolve with the moments and with the times. There’s sex, drugs, murder, and mayhem along the way. It’s a story of everyday characters in an ever-changing world. It’s a dance with the blue chameleon of fate.

Dorais and Lajeunesse analyse the adverse ways being stigmatized as homosexual affects personality and behaviour, discerning four types of reaction: the 'perfect boy,' whose perfectionism and asexuality are an attempt to minimize the difference between how he is perceived and what he is supposed to be; the 'chameleon,' who attempts to keep everyone from suspecting his secret but constantly feels like an impostor; the 'token fag,' who serves as a scapegoat to his peers, especially at school, and suffers a consequent rejection and lack of self-esteem; and the 'rebel,' who actively rejects any stigma based on his sexual orientation and non-conformity. They show that those who are heterosexual but suspected of being homosexual are most at risk of suicide and make recommendations for suicide prevention.