No Looking Back was brought to life early one Sunday morning in Tonkawa, Oklahoma, where the author's Ted and Linda Riddle lived. Ted Sat straight up in bed and said, "I know how I died." That startled Linda, who was asleep next to him. His story flowed in such a way, it brought tears and laughter to her. She grabbed a yellow tablet and pencil and began writing. He did not slow down, so she could catch up. Soon she found a tape recorder and began recording this saga. Linda knew that this was not a dream. The tone of his voice was different and even the dialogue was strange, as Ted continued well into the morning. Later, when they both realized that this "gift", had to be published, Ted asked Linda to "add the sunsets and the eagles flying." She went to libraries as they traveled, even to Alaska twice, with their work and researched for facts for the book. She took pictures of locations where the story took place and drew illustrations. Names of their family members and friends were added, as the story developed. The story begins during the Civil War, when Thomas Summers and his brother John, join the Union Army. As Ted continues with his tale, he even knows the name of his wife, children, places and events. He knows how he died, so that is the first chapter in the book. The journey takes Tom and the reader through many life-threatening adventures, at every turn. Based on facts from Tennessee, Arkansas, Oklahoma Territory, Texas, Kansas and Colorado, and a timeline of early western history, you feel that you are living each moment. There has never been a time or place like the early American West. Freedom was the quest of all who sought her.

This is a story set in the 1870s of violence and struggle in the West and of a mother and her daughter who find themselves cast into slavery to settle a debt not of their doing. This is a story of a mother forced to submit to the vilest of tasks in the belief that it will protect her daughter from the same plight and her daughter who will in time learn what her mother is being forced to do and she will soon be forced to do the same. This is a story of a mother and her daughter whose belief in God helped them keep their minds and souls above their truly hell-like world they find themselves in and the heartbreak which awaits them.

Twenty-two-year-old Shivani had thrown a party one evening-and awoken the next morning in hospital, her spine and her dreams shattered by a car crash. Paralysed and then wheelchair-bound, it took Shivani years of pain, struggle and determination to regain control of her life and her body; to demand and receive respect from the world; to gain acceptance from within and without; to find love and happiness. Then tragedy struck again. As the newly married Shivani drove to Manali with her family, an oil tanker collided head-on with the car; bedridden once again, she watched helplessly as first her father-in-law and then Vikas, her husband, succumbed to their injuries. And, yet, Shivani refused to surrender-she would not let her inability to walk keep her from achieving her ambitions. No Looking Back is a deeply moving and inspiring narrative about surviving the challenges of disability in a country that takes little account of the daily difficulties and indignities faced by approximately fifteen per cent of the world's population, whether in terms of infrastructure, legislation or awareness-a country that appears to believe that disability equals invisibility from the public discourse. Undeterred by the hand fate had dealt her, Shivani Gupta has chosen to champion the cause of the disabled everywhere and is today one of India's best-known accessibility consultants. Her life is an extraordinary testament to true courage and the indomitability of the human spirit in the face of overwhelming odds.

Pushing the boundaries of technical analysis, Woods combines price and volume charts with the knowledge of available shares in the market, or float, to create a strongly predictive indicator that can target winning stocks with incredible accuracy."--BOOK JACKET.

It is the summer of 1958 in Dewmont, Texas, a town the great American postwar boom passed by. The kids listen idly to rockabilly on the radio and waste their weekends at the Dairy Queen. And an undetected menace simmers under the heat that clings to the skin like molasses... For thirteen-year-old Stanley Mitchell, the end of innocence comes with his discovery of the mysterious long-ago demise of two very different young women. In his quest to unravel the truth about their tragic fates, Stanley finds a protector in Buster Lighthorse Smith, a black, retired Indian-reservation cop and a sage on the finer points of Sherlock Holmes, the blues, and life's faded dreams. But not every buried thing stays dead. And on one terrifying night of rushing creek water and thundering rain, an arcane, murderous force will rise from the past to threaten the boy in a harrowing rite of passage... Vintage Lansdale, A Fine Dark Line brims with exquisite suspense, powerful characterizations, and the vibrant evocation of a lost time.

Brian Daldorph first entered the Douglas County Jail classroom in Lawrence, Kansas, to teach a writing class on Christmas Eve 2001. His last class at the jail for the foreseeable future was mid-March 2020, right before the COVID-19 lockdown; the virus is taking a heavy toll in confined communities like nursing homes and prisons. Words Is a Powerful Thing is Daldorph’s record of teaching at the jail for the two decades between 2001 and 2020, showing how the lives of everyone involved in the class—but especially the inmates who came to class week after week—benefited from what happened every Thursday afternoon in that jail classroom, where for two hours inmates and instructor became a circle of ink and blood, writing together, reciting their poems, telling stories, and having a few good laughs. Words Is a Powerful Thing brings into the light the works of fifty talented inmate writers whose work deserves attention. Their poetry speaks of “what really matters” to all of us and gives the reader sustained insight into the role that creativity plays in aiding survival and bringing positive change for inmates, and, in turn, for all of us. Daldorph’s account of his teaching experience not only takes the reader inside the daily life at a county jail but also sets the work done in the writing class within the larger context of inmate education is the US corrections system, where education is often one of the few lifelines available to inmates. Words Is a Powerful Thing provides a teaching guide for instructors working with incarcerated writers, offering an extensive examination of both the challenges and benefits. When Brian Daldorph decided the story of his classroom experiences and the great writing produced by the inmates deserved to be told to wider audiences, he struggled with how to bring it all together. Not long after, an inmate wrote a poem titled “Words Is a Powerful Thing,” offering Daldorph a title, concept, and purpose: to show that the poetry of inmates speaks not just to other inmates but to all of us.

In the fourth novel of this acclaimed crime series, Joe Donovan must help a woman determine if her recent visions are related to the death of a young boy. Anne Marie is back in the hometown she hasn't seen for forty years, trying to live a normal life with her partner and teenage son. But that's impossible for Anne Marie. Because forty years ago, when she was eleven, she killed a little boy. She is trying to make peace with her past by telling her story to journalist Joe Donovan. But it's not that simple. Suffering from horrifying visions, she sometimes does bad things. Things she has no memory of afterward. So when a teenager on her housing estate is murdered and she wakes up with blood on her hands, Anne Marie naturally fears the worst. Her fragile life falling apart, Anne Marie turns to those she loves. But where she was expecting support, she finds only betrayal. Desperate, she turns to Donovan for help. But Donovan may have his own reasons for helping her, reasons that have to do with the disappearance of his own son . . .