Another thrilling Zac Power adventure! Zac knows the dinosaurs died out millions of years ago. So why would a crazy scientist claim that he's brought one back to life?

Another thrilling Zac Power adventure! Zac knows the dinosaurs died out millions of years ago. So why would a crazy scientist claim that he's brought one back to life?

This book brings together empirical and theoretical case-study research on art and heritage crime. Drawn from a diverse group of researchers and professionals, the work presented explores contemporary conceptualisations of art crime within broader contexts. In this volume, we see ‘art’ in its usual forms for art crime scholarship: in paintings and antiquities. However, we also see art in fossils and in violins, chairs and jewellery, holes in the ground and even in the institutions meant to protect any, or all, of the above. And where there is art, there is crime. Chapters in this volume, alternatively, zoom in on specific objects, on specific locations, and on specific institutions, considering how each interact with the various conceptions of crime that exist in those contexts. This volume challenges the boundaries of what we understand as “art and heritage crimes” and displays that both art, and criminality related to art, is creative and unpredictable.

The book compiles poetry written in the last ten years. The poetry deals with many subjects including child abuse, the beauty of nature, people who touch me, and other matters of inspiration. The book is a journey of the soul.

INSTANT NEW YORK TIMES BESTSELLER After a decade abroad, the National Book Award– and Pulitzer Prize–winning writer Evan Osnos returns to three places he has lived in the United States—Greenwich, CT; Clarksburg, WV; and Chicago, IL—to illuminate the origins of America’s political fury. Evan Osnos moved to Washington, D.C., in 2013 after a decade away from the United States, first reporting from the Middle East before becoming the Beijing bureau chief at the Chicago Tribune and then the China correspondent for The New Yorker. While abroad, he often found himself making a case for America, urging the citizens of Egypt, Iraq, or China to trust that even though America had made grave mistakes throughout its history, it aspired to some foundational moral commitments: the rule of law, the power of truth, the right of equal opportunity for all. But when he returned to the United States, he found each of these principles under assault. In search of an explanation for the crisis that reached an unsettling crescendo in 2020—a year of pandemic, civil unrest, and political turmoil—he focused on three places he knew firsthand: Greenwich, Connecticut; Clarksburg, West Virginia; and Chicago, Illinois. Reported over the course of six years, Wildland follows ordinary individuals as they navigate the varied landscapes of twenty-first-century America. Through their powerful, often poignant stories, Osnos traces the sources of America’s political dissolution. He finds answers in the rightward shift of the financial elite in Greenwich, in the collapse of social infrastructure and possibility in Clarksburg, and in the compounded effects of segregation and violence in Chicago. The truth about the state of the nation may be found not in the slogans of political leaders but in the intricate details of individual lives, and in the hidden connections between them. As Wildland weaves in and out of these personal stories, events in Washington occasionally intrude, like flames licking up on the horizon. A dramatic, prescient examination of seismic changes in American politics and culture, Wildland is the story of a crucible, a period bounded by two shocks to America’s psyche, two assaults on the country’s sense of itself: the attacks of September 11 in 2001 and the storming of the U.S. Capitol on January 6, 2021. Following the lives of everyday Americans in three cities and across two decades, Osnos illuminates the country in a startling light, revealing how we lost the moral confidence to see ourselves as larger than the sum of our parts.

In this 2018 New York Times Notable Book,Paige Williams "does for fossils what Susan Orlean did for orchids" (Book Riot) in her account of one Florida man's attempt to sell a dinosaur skeleton from Mongolia--a story "steeped in natural history, human nature, commerce, crime, science, and politics" (Rebecca Skloot). In 2012, a New York auction catalogue boasted an unusual offering: "a superb Tyrannosaurus skeleton." In fact, Lot 49135 consisted of a nearly complete T. bataar, a close cousin to the most famous animal that ever lived. The fossils now on display in a Manhattan event space had been unearthed in Mongolia, more than 6,000 miles away. At eight-feet high and 24 feet long, the specimen was spectacular, and when the gavel sounded the winning bid was over $1 million. Eric Prokopi, a thirty-eight-year-old Floridian, was the man who had brought this extraordinary skeleton to market. A onetime swimmer who spent his teenage years diving for shark teeth, Prokopi's singular obsession with fossils fueled a thriving business hunting, preparing, and selling specimens, to clients ranging from natural history museums to avid private collectors like actor Leonardo DiCaprio. But there was a problem. This time, facing financial strain, had Prokopi gone too far? As the T. bataar went to auction, a network of paleontologists alerted the government of Mongolia to the eye-catching lot. As an international custody battle ensued, Prokopi watched as his own world unraveled. In the tradition of The Orchid Thief, The Dinosaur Artist is a stunning work of narrative journalism about humans' relationship with natural history and a seemingly intractable conflict between science and commerce. A story that stretches from Florida's Land O' Lakes to the Gobi Desert, The Dinosaur Artist illuminates the history of fossil collecting--a murky, sometimes risky business, populated by eccentrics and obsessives, where the lines between poacher and hunter, collector and smuggler, enthusiast and opportunist, can easily blur. In her first book, Paige Williams has given readers an irresistible story that spans continents, cultures, and millennia as she examines the question of who, ultimately, owns the past.

Beneath the deserts of the American Southwest, one of the Umbrella Corporation's most elaborate facilities is about to go online. Somewhere inside may also be the key to stopping Umbrella once and for all... can Leon Kennedy, Claire Redfield, Rebecca Chambers, and their friends can get past a strike team of corrupt S.T.A.R.S., and survive the genetically engineered horrors awaiting them?