Star Girl flies again in this sequel to the bestselling, award-winning Sophie Sea to Sea. Starting her new classes at the new French school in British Columbia, Sophie is happy to escape the old Alderson Avenue School where stuck-up Elizabeth Proctor and her friends rule. But trouble develops when the teachers go on strike and Sophie is forced back into Alderson. Will she have to endure as an outcast? Or will she, like Star Girl, save the day with a daring rescue?

Star Girl flies again! Trouble develops in 1949 in B.C. when the teachers go on strike. Will Sophie have to endure as an outcast? Or will she save the day with a daring rescue?

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

When a mysterious serial killer known as "M" launches a deranged "investigation", Alex Cross and his partner must unearth long-forgotten secrets to survive -- or risk getting buried themselves. In a Virginia penitentiary, Alex Cross and his partner, John Sampson, witness the execution of a killer they helped convict. Hours later, they are called to the scene of a copycat crime. A note signed "M" rests on the corpse. "You messed up big time, Dr. Cross." Was an innocent man just put to death? Alex soon realizes he may have much to answer for, as "M" lures the detective out of the capital to the sites of multiple homicides, all marked with distressingly familiar details -- details that conjure up decades-old cases. Details that conjure up Cross family secrets. Details that make clear that M is after a prize so dear that -- were the killer to attain it -- Alex's heart would no longer have reason to beat.

How to double-cross Hollywood as an artist? This first monograph on British artist Douglas Gordon analyses all of the artist's video projection installations that are based on his appropriations of Hollywood film noir or Hitchcock films, examining Gordon's language works as well. Counter to the usual interpretations of Gordon's work as a dichotomy between good and evil, Double-Cross argues that his work is all about dissemblance, with the dichotomy only one deception among others. It also argues that, with the inaugural separation of the components of sound and image in his work, one of the artist's disguises is that of an author. All the fragments of the artist's work--projections, language works, photography--add up to the production of a criminal author. His final disguise is that of an experimental filmmaker whose subject is not the film noir themes of trust, guilt, fate, and the madness of the double that appear as the content of his work, but the temporality of the spectator's engagement.