The young woman has a new but mysterious boyfriend she met at Dyer Cleaners' open house party. But when Ardith turns up dead a couple of days later, Mandy suspects the worst.

Perfectly pressed. Perfectly proper. Perfectly deadly. It’s Halloween season in San Benedetto, and Paranormal museum owner Maddie Kosloski has the perfect paranormal exhibit for the harvest festival – a haunted grape press. But before she can open the exhibit, she’s accused of stealing the antique. And when her accuser is found murdered, all eyes turn to Maddie. But murder is only the start of the puzzles she’ll have to unravel. Why does her perfectly proper mother insist Maddie investigate? Does her mother have a secret agenda? And why has the local charity, Ladies Aid, seemingly gone gangster? In this light cozy mystery, haunted houses, runaway wine barrels, and murder combine in a perfect storm of chaos. Facing down danger and her own over-active imagination, Maddie must unearth the killer before she becomes the next ghost to haunt her museum. If you enjoy quirky mysteries with heart, you’ll love Pressed to Death. Get cozy and start reading this hilarious whodunit now! Praise: "In Weiss's engaging sequel...Well-drawn characters and tantalizing wine talk help balance the quirky aspects of this paranormal mystery."—Publishers Weekly

"Kill class is based on two years of fieldwork the author conducted within combat trainings in simulated Middle Eastern villages erected by the US military across America"--

“Meticulously researched . . . This is the definitive chronicle of the Middle East crisis during the Clinton years and in the post-9/11 era” (Publishers Weekly). “Providing a fly-on-the-wall vantage of the rising diplomatic panic that sent shudders through world capitals,” Kill Khalid unfolds as a masterpiece of investigative journalism (Toronto Star). In 1997, the Israeli intelligence agency Mossad poisoned Hamas leader Khalid Mishal in broad daylight on the streets of Amman, Jordan. As the little-known Palestinian leader slipped into a coma, the Mossad agents’ escape was bungled and the episode quickly spiraled into a diplomatic crisis. A series of high-stakes negotiations followed, which ultimately saved Mishal and set the stage for his phenomenal political ascendancy. In Kill Khalid, acclaimed reporter Paul McGeough reconstructs the history of Hamas through exclusive interviews with key players across the Middle East and in Washington, including unprecedented access to Mishal himself, who remains to this day one of the most powerful and enigmatic figures in the region. A “sobering reminder of how little has been achieved during 60 years of Israeli efforts in Palestine,” Kill Khalid tracks Hamas’s political fortunes across a decade of suicide bombings, political infighting, and increasing public support, culminating in the battle for Gaza in 2007 and the current-day political stalemate (Kirkus Reviews, starred review). “A pacey, riveting, and controversial book that has all the compulsion of a Le Carré novel.” —John F. Burns, The New York Times “[A] gem of leave-no-stone-unturned reporting.” —Foreign Affairs

“A remarkable book.”—Malcolm Gladwell, San Francisco Chronicle Deaths of civilians at the hands of on-duty police are in the national spotlight as never before. How many killings by police occur annually? What circumstances provoke police to shoot to kill? Who dies? The lack of answers to these basic questions points to a crisis in American government that urgently requires the attention of policy experts. When Police Kill is a groundbreaking analysis of the use of lethal force by police in the United States and how its death toll can be reduced. Franklin Zimring compiles data from federal records, crowdsourced research, and investigative journalism to provide a comprehensive, fact-based picture of how, when, where, and why police resort to deadly force. Of the 1,100 killings by police in the United States in 2015, he shows, 85 percent were fatal shootings and 95 percent of victims were male. The death rates for African Americans and Native Americans are twice their share of the population. Civilian deaths from shootings and other police actions are vastly higher in the United States than in other developed nations, but American police also confront an unusually high risk of fatal assault. Zimring offers policy prescriptions for how federal, state, and local governments can reduce killings by police without risking the lives of officers. Criminal prosecution of police officers involved in killings is rare and only necessary in extreme cases. But clear administrative rules could save hundreds of lives without endangering police officers. “Roughly 1,000 Americans die each year at the hands of the police...The civilian body count does not seem to be declining, even though violent crime generally and the on-duty deaths of police officers are down sharply...Zimring’s most explosive assertion—which leaps out...—is that police leaders don’t care...To paraphrase the French philosopher Joseph de Maistre, every country gets the police it deserves.” —Bill Keller, New York Times “If you think for one second that the issue of cop killings doesn’t go to the heart of the debate about gun violence, think again. Because what Zimring shows is that not only are most fatalities which occur at the hands of police the result of cops using guns, but the number of such deaths each year is undercounted by more than half!...[A] valuable and important book...It needs to be read.” —Mike Weisser, Huffington Post

A study of women murderers in America from precolonial times to the present reveals a social history of the United States in terms of the women who murdered and their crimes.

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the “pedigree of the real” and the “pornography of the real,” they fail to activate their viewers’ engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an “us-watching-them” mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a “postrealist” cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.