"Originally published in 2010 by Millstone Justice Children's Advocacy Organization under the title, The serpents among us"--T.p. verso.

Which sort of seducer could you be? Siren? Rake? Cold Coquette? Star? Comedian? Charismatic? Or Saint? This book will show you which. Charm, persuasion, the ability to create illusions: these are some of the many dazzling gifts of the Seducer, the compelling figure who is able to manipulate, mislead and give pleasure all at once. When raised to the level of art, seduction, an indirect and subtle form of power, has toppled empires, won elections and enslaved great minds. In this beautiful, sensually designed book, Greene unearths the two sides of seduction: the characters and the process. Discover who you, or your pursuer, most resembles. Learn, too, the pitfalls of the anti-Seducer. Immerse yourself in the twenty-four manoeuvres and strategies of the seductive process, the ritual by which a seducer gains mastery over their target. Understand how to 'Choose the Right Victim', 'Appear to Be an Object of Desire' and 'Confuse Desire and Reality'. In addition, Greene provides instruction on how to identify victims by type. Each fascinating character and each cunning tactic demonstrates a fundamental truth about who we are, and the targets we've become - or hope to win over. The Art of Seduction is an indispensable primer on the essence of one of history's greatest weapons and the ultimate power trip. From the internationally bestselling author of The 48 Laws of Power, Mastery, and The 33 Strategies Of War.

In this “enormously accomplished and compelling novel,” a man crisscrosses Scandinavia to solve the mystery of his wife’s death—and of his own life (Paul Auster, bestselling author of 4 3 2 1). Jonas Wergeland, a famous TV documentary producer with an almost magical knack for infidelity, returns one evening from the World’s Fair in Seville to find his wife dead on the living room floor. What follows is a quest to find the killer, and an endlessly inventive look at the conditions that have brought Wergeland to this critical juncture in life. From his hairsbreadth escape from a ravenous polar bear while filming in Greenland to a near-death experience aboard a passenger ferry in the icy Baltic, the experiences that comprise the narrative of Wergeland’s life provide a fascinating portrait of a media icon at the crux of his journey as an artist.

A longtime Rochester, New York, police detective tells the behind-the-scenes stories of four of his most memorable cases. Patrick Crough served more than twenty years as a Monroe County Major Crimes detective, where he investigated some of the region’s most tragic crimes. They include horrifying acts, like that of a Valentine’s Day killing rampage that left four people dead, as well as the case against Ed Laraby, the serial rapist who terrorized women in Rochester and Monroe County. But there are also stories of heroism and bravery: strangers coming to the aid of those in peril, parents who laid down their lives to save their children, and the team of people who put violent criminals behind bars. In these pages, Crough details four of his most memorable cases—in which he was forced to confront evil and chose to pursue truth.

"Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. While many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement (dubbed by B. Ruby Rich, the "new queer cinema") in the United States, films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms. Cross-dressing, same-sex attraction, comedic drag performance: at some points, for example in 1950s television, these were not undercurrents but very prominent aspects of mainstream cultural production. Addressing "history" not as dots on a progressive spectrum but as a uneven story of struggle, writers on queer cinema in this volume stress how that queer cinema did not appear miraculously at one moment but describes currents throughout the century-long history of the medium. Likewise, while queer is an Anglophone term that has been widely circulated, it by no means names a unified or complete spectrum of sexuality and gender identity, just as the LGBTQ+ alphabet soup struggles to contain the distinctive histories, politics, and cultural productions of trans artists and genderqueer practices. Across the globe, media makers have interrogated identity and desire through the medium of cinema through rubrics that sometimes vigorously oppose the Western embrace of the pejorative term queer, instead foregrounding indigenous genders and sexualities, or those forged in the global South, or those seeking alternative epistemologies. Finally, while "cinema" is in our title, many scholars in this collection see that term as an encompassing one, referencing cinema and media in a convergent digital environment. The lively and dynamic conversations introduced here aspire to sustain further reflection as "queer cinema" shifts into new configurations"--

The author of "Seductress" examines the ladies' man and answers the eternal question: what do women want?

In the fourth century, clerics began to distinguish themselves from members of the laity by virtue of their augmented claims to holiness. Because clerical celibacy was key to this distinction, religious authorities of all stripes—patristic authors, popes, theologians, canonists, monastic founders, and commentators—became progressively sensitive to sexual scandals that involved the clergy and developed sophisticated tactics for concealing or dispelling embarrassing lapses. According to Dyan Elliott, the fear of scandal dictated certain lines of action and inaction, the consequences of which are painfully apparent today. In The Corrupter of Boys, she demonstrates how, in conjunction with the requirement of clerical celibacy, scandal-averse policies at every conceivable level of the ecclesiastical hierarchy have enabled the widespread sexual abuse of boys and male adolescents within the Church. Elliott examines more than a millennium's worth of doctrine and practice to uncover the origins of a culture of secrecy and concealment of sin. She charts the continuities and changes, from late antiquity into the high Middle Ages, in the use of boys as sexual objects before focusing on four specific milieus in which boys and adolescents would have been especially at risk in the high and later Middle Ages: the monastery, the choir, the schools, and the episcopal court. The Corrupter of Boys is a work of stunning breadth and discomforting resonance, as Elliott concludes that the same clerical prerogatives and privileges that were formulated in late antiquity and the medieval era—and the same strategies to cover up the abuses they enable—remain very much in place.