The first novel in the multi-million dollar video game franchise Dead Space When geophysicist Michael Altman hears of the mysterious signal emitted from deep within the Chicxulub crater, he can not resist the lure of an undiscovered artifact. With his girlfriend Ada, he joins a team excavating the underwater crater, determined to find the source of the baffling message. The artifact, named "The Black Marker," possesses a mysterious power. Close proximity to the stone causes strange occurrences: visions of the dead, vivid dreams, and violent murders. When Michael secretly obtains a small piece of the marker, he too begins to dream. The Black Marker has chosen him to hear his message: You need to prove yourself worthy of eternal life, or the slate will be wiped clean on Earth. This is the story of the origin of "The Black Marker," the foundation of the Church of Unitology, and a discovery that will change the world.

"Martyr" is the first novel in the amazingly imaginative Dead Space video game universe that looks deep into the origins of humanity and the vast onslaught of horrifying creatures known as necromorphs.

A prequel to the events of the smash video game hit Dead Space 3, we follow Earthgov Sergeant, John Carver who’s wife and son are attacked by fanatics trying to liberate the Marker site where she works. Racing to solve the clues his wife left behind, Carver teams up with Ellie Langford, survivor of an earlier necromorph outbreak on the Sprawl, and EarthGov Captain Robert Norton. Together they unlock deep secrets about the Markers in an epic adventure that will help determine the fate of mankind.

"Gilda, a twenty-something, atheist, animal-loving lesbian, cannot stop ruminating about death. Desperate for relief from her panicky mind and alienated from her repressive family, she responds to a flyer for free therapy at a local Catholic church, and finds herself being greeted by Father Jeff, who assumes she's there for a job interview. Too embarrassed to correct him, Gilda is abruptly hired to replace the recently deceased receptionist Grace. In between trying to memorize the lines to Catholic mass, hiding the fact that she has a new girlfriend, and erecting a dirty dish tower in her crumbling apartment, Gilda strikes up an email correspondence with Grace's old friend. She can't bear to ignore the kindly old woman, who has been trying to reach her friend through the church inbox, but she also can't bring herself to break the bad news. Desperate, she begins impersonating Grace via email. But when the police discover suspicious circumstances surrounding Grace's death, Gilda may have to finally reveal the truth of her mortifying existence."--Amazon.

Nominated for the Philip K. Dick Award An investigator must solve a brutal murder on a claustrophobic space station in this tense science fiction thriller from the author of Salvation Day. Hester Marley used to have a plan for her life. But when a catastrophic attack left her injured, indebted, and stranded far from home, she was forced to take a dead-end security job with a powerful mining company in the asteroid belt. Now she spends her days investigating petty crimes to help her employer maximize its profits. She's surprised to hear from an old friend and fellow victim of the terrorist attack that ruined her life—and that surprise quickly turns to suspicion when he claims to have discovered something shocking about their shared history and the tragedy that neither of them can leave behind. Before Hester can learn more, her friend is violently murdered at a remote asteroid mine. Hester joins the investigation to find the truth, both about her friend's death and the information he believed he had uncovered. But catching a killer is only the beginning of Hester's worries, and she soon realizes that everything she learns about her friend, his fellow miners, and the outpost they call home brings her closer to revealing secrets that very powerful and very dangerous people would rather keep hidden in the depths of space.

How to Do Things with Dead People studies human contrivances for representing and relating to the dead. Alice Dailey takes as her principal objects of inquiry Shakespeare's English history plays, describing them as reproductive mechanisms by which living replicas of dead historical figures are regenerated in the present and re-killed. Considering the plays in these terms exposes their affinity with a transhistorical array of technologies for producing, reproducing, and interacting with dead things—technologies such as literary doppelgängers, photography, ventriloquist puppetry, X-ray imaging, glitch art, capital punishment machines, and cloning. By situating Shakespeare's historical drama in this intermedial conversation, Dailey challenges conventional assumptions about what constitutes the context of a work of art and contests foundational models of linear temporality that inform long-standing conceptions of historical periodization and teleological order. Working from an eclectic body of theories, pictures, and machines that transcend time and media, Dailey composes a searching exploration of how the living use the dead to think back and look forward, to rule, to love, to wish and create.

The sculptor Ed Hamilton presents information on his portrait bust of African-American civil rights activist Medgar Wiley Evers (1925-1963). Evers was murdered on June 12, 1963. He worked for the National Association for the Advancement of Colored People (NAACP) and campaigned to win equal rights for African Americans in the south. The bust was cast in bronze at Bright Foundry in Louisville, Kentucky. General Mills, Inc. commissioned the bust.