A Global Dynamics researcher has a breakthrough on her project visualizing another dimension. And since GD's experiments have a bad tendency to affect the entire town, Sheriff Jack Carter heads over to check it out. What he sees blows him away. The project has revealed a parallel universe, complete with another Eureka-one in which Carter doesn't exist! But as the two worlds begin to bleed into each other and residents confront their alternate selves, Carter may be the one man who can keep both Eurekas from being destroyed.

A Global Dynamics researcher has a breakthrough on her project visualizing another dimension. And since GD's experiments have a bad tendency to affect the entire town, Sheriff Jack Carter heads over to check it out. What he sees blows him away. The project has revealed a parallel universe, complete with another Eureka-one in which Carter doesn't exist! But as the two worlds begin to bleed into each other and residents confront their alternate selves, Carter may be the one man who can keep both Eurekas from being destroyed.

Even the brightest of Eureka's residents can't read someone else's mind. Then Global Dynamics develops the Brain Box: a device capable of capturing and storing human thoughts. When the Box starts messing with people's minds, Sheriff Jack Carter will have to keep his thoughts to himself if he's going to save the town from going out of their heads.

Sheriff Jack Carter must keep Eureka from being exposed to the world when people, cars and buildings are being swapped with people, cars and buildings from different places.

When Global Dynamics develops the Brain Box--a device capable of capturing and storing human thoughts--and it starts messing around with people's minds, Sheriff Jack Carter needs to keep his thoughts to himself to save the townspeople of Eureka from losing their minds. Original. TV tie-in.

George Bradley, whose previous work has drawn praise from James Merrill and Harold Bloom, here meditates on contemporary culture, on the natural world and the world imagined, and on the life of the poet. Whether he is standing in line at the SuperSave, where tabloids beckon, or contemplating the change of seasons in a classic sonnet sequence, Bradley juxtaposes the sublime workings of the mind with the mundane static that surrounds it. What he finds in this conjunction is a surprising beauty, a uniquely contemporary formal music, and, often, a curative dose of humor. Even verse itself is not exempt from his clarifying view, as he proves in “How I Got in the Business,” a wild ride through several sorts of commerce, including the poetry trade. Throughout Some Assembly Required, Bradley savors both the riveting accident of everyday life and the long view afforded by art, in poetry that is taut, witty, and dynamic.