The Triple Threat women go undercover for an intricate and deadly cat-and-mouse game where nothing can be taken at face value in this riveting mystery that is sure to leave readers both shocked and satisfied.

Should Justice be blind or should she instead be capable of seeing everything, even the human heart? Jose M. Gonzalez Garcia examines how the iconography of Justice evolved over the course of history. Providing an overview of depictions of Justice in various ages and places, the book mainly focuses on "The Blindfold Dispute" that began to develop during Renaissance. While at first the blindfold was perceived as unjust, precisely because it denied Justice the ability to see everything, it transformed just a few years later into a positive symbol of the equality of all individuals before the law. And other depictions were added: supplementary eyes, transparent blindfolds, the double face of Janus, the returns of Astraea and the "Eye of the Law". The book also analyses important historic moments in which the crisis of the Law went along with a search for new forms of representing the gaze of Justice, as reflections on the art of Durer, Klimt and Kafka as well as recent developments in political philosophy show.

The events surrounding Hurricane Katrina offer a remarkable case study of the social divide in the United States. The book includes scholarly articles examining the continued struggle for social justice from the perspectives of communication, criminology, education, ethnic studies, history, justice studies, law, political science, sociology, and urban planning. This multidisciplinary case study approach is a highly effective way of helping readers understand contemporary debates about social justice, including the roles of historically persistent structural inequality, racism and classism, media portrayals of life changing events, government reactions and responsibilities in the face of crises, and the role of public policy and activism in response to social injustice. The collection of articles is divided into three sections representing the causes of, consequences of, and responses to social injustice as illustrated through the case study of Hurricane Katrina. The first section, Images from the Past: Social Justice and Hurricane Katrina in Context, examines the structural inequality and cultural divisions in the United States that make just responses to disasters difficult. The second section, Images of the Disaster: Reactions to Hurricane Katrina, offers analyses of the effects of Hurricane Katrina, the disparities that are highlighted after such a disaster, and the subsequent actions and reactions that emerge in its wake. The third section, Images of the Future: Policy, Activism, and Justice, focuses on public policy and activist efforts aimed at creating a more just society. This second edition includes new chapters on the gender analysis of disaster recovery work and the implementation of socially just post-disaster urban planning efforts. In addition, the introductory and concluding chapters have been significantly rewritten to include expanded theoretical analyses of both the meaning of social disasters and the policy implications for social disasters in the United States. "Editors Bates and Swan...argue convincingly that Hurricane Katrina's severe social and environmental consequences are best apprehended within a social justice framework because the hurricane revealed and magnified extensive, entrenched patterns of racial and class discrimination against impoverished minority residents of New Orleans... The essays are persuasive because they blend topicality with academic rigor, providing many relevant sources, detailed footnotes, and cogent analyses of situations. The book significantly enhances understanding of the historical and contemporary circumstances that created the Hurricane Katrina disaster." -- CHOICE Magazine, on the first edition

When Kalen Dren and Myrin Darkdance investigate a friend's disappearance in Westgate, they find that all is not as it seems At long last Kalen “Shadowbane” Dren has given up a life of crime to join Myrin on a journey to the city of Westgate. But although Kalen is leaving his vigilante past behind, his high-stakes adventures are far from over—and there are enemies who still yearn to see him fall. Moreover, rumor has it that others have adopted his guise and now deal with violence on their own terms. The two adventurers leave Luskan for Westgate in search of Kalen's former apprentice, who they fear is dead. As the pair scours the city, seeking answers to Kalen's disappearance and to their own destinies, they find that the rumors about the vigilantes are true. But who are these wannabe "Shadowbanes" who wield the vaunted sword Vindicator? Myrin and Kalen have no idea that a game is being played in which they are only pawns.

Sargrenti is the name by which Major General Sir Garnet Wolseley, KCMG (1833 – 1913) is still known in the West African state of Ghana. Kofi Gyan, the 15-year old boy who spits in Sargrenti’s eye, is the nephew of the chief of Elmina, a town on the Atlantic coast of Ghana. On Christmas Day, 1871, Kofi’s godfather gives him a diary as a Christmas present and charges him with the task of keeping a personal record of the momentous events through which they are living. This novel is a transcription of Kofi’s diary. Elmina town has a long-standing relationship with the Castelo de São Jorge da Mina, known today as Elmina Castle, built by the Portuguese in 1482 and captured from them by the Dutch in 1637. In April, 1872, the Dutch hand over the unprofitable castle to the British. The people of Elmina have not been consulted and resist the change. On June 13, 1873 British forces punish them by bombarding the town and destroying it. (It has never been rebuilt. The flat open ground where it once stood serves as a constant reminder of the savage power of Imperial Britain.) After the destruction of Elmina, Kofi moves to his mother’s family home in nearby Cape Coast, seat of the British colonial government, where Sargrenti is preparing to march inland and attack the independent Asante state. There, Melton Prior, war artist of the London weekly news magazine, The Illustrated London News, offers Kofi a job as his assistant. This gives the lad an opportunity to observe at close quarters not only Prior but also the other war correspondents, Henry Morton Stanley and G. A. Henty. Kofi witnesses and experiences the trauma of a brutal war, a run-up to the formal colonialism which would be realized ten years later at the 1885 Berlin conference, where European powers drew lines on the map of Africa, dividing the territory up amongst themselves. On February 6, 1874, Sargrenti’s troops loot the palace of the Asante king, Kofi Karikari, and then blow up the stone building and set the city of Kumase on fire, razing it to the ground. Kofi’s story culminates in his angry response to the British auction of their loot in Cape Coast Castle. The loot includes the solid gold mask shown on the front cover of the novel. That mask continues to reside in the Wallace Collection in London. The invasion of Asante met with the enthusiastic approval of the British public, which elevated Wolseley to the status of a national hero. All the war correspondents and several military officers hastened to cash in on public sentiment by publishing books telling the story of their victory. In all of these, without exception, the coastal Fante feature as feckless and cowardly and the Asante as ruthless savages. The Boy who Spat in Sargrenti’s Eye tells the story of these momentous events for the first time from an African point of view. It is told with irony and with occasional flashes of humor. The novel is illustrated with scans of seventy engravings first published in The Illustrated London News. This book won a Burt Award for African Literature which included the donation by the Ghana Book Trust of 3000 copies to school libraries in Ghana. In 2016, at the annual conference of the African Literature Association held in Atlanta, GA, it received the ALA’s Creative Book of the Year Award. Manu Herbstein has done what the best cultural historians of Africa should do: that is, read between the lines of the colonial archives to imagine what it was like to be an African alive at that time, witnessing and interpreting events. Prof. Stephanie Newell, Yale University Manu Herbstein’s The Boy who Spat in Sargrenti’s Eye is a masterwork of historical fiction. Trevor R. Getz, Ph.D. San Francisco State University

Baltimore mobster Charlie Wilhelm reveals in his own words the details of hiswild life in crime and his desperate struggle for redemption.of shocking photos. Original.

Justice Blindfolded gives an overview of the history of “justice” and its iconography through the centuries. Justice has been portrayed as a woman with scales, or holding a sword, or, since the fifteenth century, with her eyes bandaged. This last symbol contains the idea that justice is both impartial and blind, reminding indirectly of the bandaged Christ on the cross, a central figure in the Christian idea of fairness and forgiveness. In this rich and imaginative journey through history and philosophy, Prosperi manages to convey a full account of the ways justice has been described, portrayed and imagined. Translation of Giustizia bendata. Percorsi storici di un'immagine (Einaudi, 2008).