Sophia Harriman owns a successful art gallery in the French Quarter. She's thinking how good life is while she waits for the stop light to turn green. Suddenly her world is turned upside down when a dead body smashes onto her windshield. As Sophia struggles with the identity of the victim, she's forced to confront the shady details surrounding her father's death many years before. With her tattoo-artist renter and her teenage nephew in tow, Sophia sets out to unravel the mystery of the dead man. Along the way, she uncovers an illegal scheme that threatens to bring down the government's rich and powerful, who stop at nothing to make sure she doesn't succeed. With murder nipping at her heels, Sophia runs into treacherous roadblocks at every turn. Her investigation takes her from New Orleans to the hill country of Texas to the Indian reservations of Albuquerque to the posh city of Boca Raton and finally to the halls of justice in Washington D.C. The suspense is palpable and the stakes are high. The killer is determined to win at any cost. He's adamant and resourceful. Will Sophia ever find justice for an elusive killer with friends in high places?

Mr. Lifton and I initially started talking per phone once a month or so around mid-2018, this due to the David Lifton Project, a video interview my students created back in February 2018 - the point being to share his all important research with the next generation of Americans, the youth of our nation; students sharing the importance of Mr. Lifton's work with other students. Though much of the student film covers the thesis of Best Evidence, midway into the film, Mr. Lifton discusses the seeds of Final Charade - which sprouted in March of 1980. Over the next few months, the frequency of our phone conversations grew to about once a week at its height. The origins of Conversations with David S. Lifton: 'Best Evidence' to 'Final Charade' stem from the fact that Mr. Lifton was aging, and I feared his some forty years (1980-2020) of post-Best Evidence research could be lost if he passed suddenly without anyone knowing how to access his research in his trusty but cryptic Apple MacBook Air. If so, Final Charade might never see the light of day. When discussing this with a fellow researcher, he told me emphatically, "Jim, you have to discuss this with him." This work is the result of that conversation.

Arguing that the evidence relied upon by the Warren Commission and the House Assassinations Committee was faked, Lifton describes how the cover-up plot worked and explains the numerous conflicts in the record.

Louis Nowra is regarded as one of Australia's leading dramatists. This book presents an overview of the playwright's life and work and a critical analysis of his plays.

The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's 1947 inaugural exhibition and the 1948 and 1950 Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.

A tale of two torturersâ??Where I Left My Soul is a powerful exploration of guilt and identity in the savagery of the Algerian War. Captain Andre Degorce is reunited with Lieutenant Horace Andreani, with whom he experienced the horrors of combat and imprisonment in Vietnam. Captives now pass from the Captainâ??s hands into Andreani's: one-time victims have become torturers. Andreani has fully embraced his new status, but Degorce has lost all sense of himself, only finding peace when he is with Tahar, a commander in the National Liberation Army. Taharâ??s cell now acts as a confessional for Andreani, with the jailor opening up to his prisoner.