Josh Crockett, a thirty-three-year-old psychologist and author, travels back home to Melo, Indiana, at the request of his high school best friend, Paul Palato. Having read Josh's book, Living Faith, Paul invites Josh to come for an extended visit and teach the church's youth the concepts found in the book. Because it is the church his father founded and where Josh grew up and because Paul is still one of his closest friends, Josh decides to answer Paul's invitation. Josh involves himself in the lives of several people in Melo, such as Marcy James, who has inherited several businesses in Melo, including the Riverbend Apartments where Josh and Marcy both reside. Their chance meeting and subsequent other meetings grow into a very strong bond of friendship. Desmond Niemeier, the head deacon at the church, believes Josh Crockett is too good to be true. He works to uncover dark secrets from Josh's past and exposes suspicious behavior, such as the hours Josh spends with Marcy since his return back to Melo, Indiana. Josh questions why God allows this to happen. He also struggles with whether his true feelings for Marcy James are love or physical attraction. Josh feels too that God is pulling him in two directions by giving him good opportunities to stay in Melo and equally noble motives to return to his home and practice in Corona, Florida. How will he know which is God's will? What is to become of Marcy and Josh?

Photographer Eadweard Muybridge (1830–1904), often termed the father of the motion picture, presented his iconic Animal Locomotion series in 1887. Produced under the auspices of the University of Pennsylvania and encompassing thousands of photographs of humans and animals in motion, the series included more than 300 plates of nude men and women engaged in activities such as swinging a baseball bat, playing leapfrog, and performing housework—an astonishing fact given the period’s standards of propriety. In the first sustained examination of these nudes and the remarkable success of their production, wide circulation, and reception, Indecent Exposures positions this revolutionary enterprise as central to crucial advancements of the modern era. Muybridge’s nudes ushered in new attitudes toward science and progress, including Darwinian ideas about human evolution and hierarchy; quickened debates over the role of photography and scientific investigation in art; and offered innovative perspectives on the human body. This fascinating story is copiously illustrated, and includes many lesser-known photographs published here for the first time.

Sounding 6 begins with Bain Attwood’s thesis Blacks & Lohans and an echo titled SEX & SORROW EAST OF MELBOURNE. Then Henry Meyrick’s frontier life and death in Western Port and Gipps Land leads into Echo 93: TAMING MELBOURNE BAYSIDE & THE DANDENONGS. Turning to OPENING GIPPSLAND: elite squatters at Sale are contrasted by surviving Kooris on Jackson’s Track. The narrative then backtracks in time with Echo 95: CONTRIBUTIONS TO TRUTH ABOUT SLAUGHTER IN GIPPSLAND comprising the Porter, Cox, Fels and Gardner versions of the blood-stained land-grab. Fels then reports on the Native Police actions and Morgan’s recent overview of the Ganai before and after white settlement concludes the shameful issues long denied or excused. Echo 96: LIAR’S LUNCH charts the rise and fall of pioneer Angus McMillan MP before the focus shifts to the historical geography of East Gippsland clans and languages and on to missionary Bulmer at Lake Tyers with the stories of the payback of Hopping Kitty and Attwood’s study of Brataualung man Tarra Bobby. Alfred Howitt’s birthing of Oz anthropology with his opus The Native Tribes of South-east Australia published at the start of the 20th century is the source material of several echoes on the making of ‘clever’ men and on songs and song-makers. Sounding 6 closes with extracts reprinted from Professor Elkin’s Aboriginal Men of High Degree – their personality and ‘making’, the powers of medicine men, and in conclusion Echo 106: ABORIGINAL MEN OF HIGH DEGREE IN A CHANGING WORLD.