While helping their father on an investigation at a science fiction theme park, Frank and Joe Hardy are horrified when their father is kidnapped, and soon they are drawn into the fight of their lives.

While helping their father on an investigation at a science fiction theme park, Frank and Joe Hardy are horrified when their father is kidnapped, and soon they are drawn into the fight of their lives.

In a world with no power, chaos soon descends. A powerful look at the disintegration of society in the wake of a massive and mysterious outage that has knocked out all modern amenities. Fifteen-year-old Emma has moved house with her ex-Marine mother and younger brother. It's a brand-new condo building, which explains the semi-regular power outages, as workers complete the units around them. So Emma isn't particularly concerned when the latest blackout hits just as they are preparing to leave town on a long weekend camping trip. But then the car won't start, and their cellphones appear dead -- and all the cars outside their building seem to be stalled in a long traffic jam ... In the midst of what appears to be a massive power outage, with their camping gear packed and ready, Emma and her family canoe over to the islands, just offshore, to wait it out. But while they land on an isolated island, with a relatively hidden site, they are far from safe, as people become increasingly desperate to find food and shelter. And as the days pass, and the power remains out, the threat of violence becomes all too real.

A scribbled note left by a tree was the only clue to two missing men...ExcerptNot everyone, perhaps, will believe that my ten years' hatred for Edgar Halpin was the impelling force that drove me to the perfecting of a most unique invention. Only those who have detested and loathed another man with the black fervor of the feeling I had conceived, will understand the patience with which I sought to devise a revenge that should be safe and adequate at the same time. The wrong he had done me was one that must be expiated sooner or later; and nothing short of his death would be sufficient. However, I did not care to hang, not even for a crime that I could regard as nothing more than the mere execution of justice; and, as a lawyer, I knew how difficult, how practically impossible, was the commission of a murder that would leave no betraying evidence. Therefore, I puzzled long and fruitlessly as to the manner in which Halpin should die, before my inspiration came to me.I had reason enough to hate Edgar Halpin. We had been bosom friends all through our school days and through the first years of our professional life as law-partners. But when Halpin married the one woman I had ever loved with complete devotion, all friendship ceased on my side and was replaced by an ice-like barrier of inexorable enmity. Even the death of Alice, five years after the marriage, made no difference, for I could not forgive the happiness of which I had been deprived-the happiness they had shared during those years, like the thieves they were. I felt that she would have cared for me if it had not been for Halpin-indeed, she and I had been almost engaged before the beginning of his rivalry.

There is a epidemic of crime. Some of the deliveries from the pharmacy have proved disastrous. Nancy is convinced that foul play is involved ...

The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.

The author should not disappear into her own work, says Christa Wolf, but should stand up and be counted. In this series of interviews and conversations spanning more than a decade, Christ Wolf does precisely that. Here, one of the greatest contemporary novelists discusses the origins of an inspirations for her best known works. Often taking as her starting point events from the past, her novels, she explains, remain fictions of the present, whether her concern is to reassess the experiences of growing up in Nazi Germany, as in A Model Childhood, or to attempt to trace the roots of the contradictions in which our civilisation is now trapped, as in Cassandra. These conversations, however, take her far beyond the purely literary. She talks openly about what it means to be both a writer and a woman in East Germany today, and concludes that literature is no longer territorially defined. We are not so much divided by boundaries between East and West as united in our common experience of highly organized patriarchal society, she says, which has brought us to ‘the verge of annihilation’. It is the author’s voice, according to Christa Wolf, which provides ‘the fourth dimension’ of modern prose. In these pages her own voice emerges more loudly and clearly than ever.