Superstitious before being diagnosed with leukemia, Mia becomes irrationally dependent on horoscopes, good luck charms, and the like when her life shifts from cheerleading and parties to chemotherapy and platelets.

Mia is the quintessential high school A-lister: popular, non-exclusively dating the captain of the soccer team, extremely high GPA, everything Mia's mother has ever wanted. When you have everything good going your way, you have everything to lose. After Mia finds out she has leukemia, she feels like everything she has achieved will slip away from her. So she decides to keep her illness a secret from all her friends and her boyfriend. The only one she lets in is her lifelong best friend, Gyver-the guy next door who is poised to become so much more in her life. Mia is always looking for signs in her everyday life, to shape her decisions, and now that she's sick, she's desperate for a sign that she is going to survive.

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When one falls Crime reporter Mari Alvarez was never able to solve her mother’s murder ten years ago. But when a woman is gunned down on the doorstep of her West Tampa neighborhood, Mari can’t shake the eerie sense of connection. The others will break Now there have been two murders in two days. Each crime scene awash with arcane clues—and without a trace of DNA from the killer. And for each victim, a doll. The first is missing an eye. The second is missing a heart. But are these clues leading to the killer...or messages for Mari? Unless she plays the game... Caught up in a maelstrom of Old-World superstition, secrets, and ties to her own past, Mari has only one option. Put the puzzle together before someone else dies—even if it destroys her career. But there’s no escaping the hungry spider’s web when it’s been made just for you...

Excerpt: ... stand to buy an afternoon paper, glanced at the head-lines and a portion of the text, and smiled sweetly to himself. Then he betook himself by means of a bus to the Warford residence. Helen was at home, and in the library. With her was Professor Eldridge. The men greeted each other formally. After a moment of general conversation Darrow produced the newspaper. "I see you have your theories in print," he drawled. "Very interesting. I didn't know you'd undertaken grammar-school physics instruction." "I know I'm going to be grateful for any sort of instruction-from anybody," interposed Helen. "I'm all in the dark." "Like the Atlas Building," Darrow smiled at her. "Well, here's a very good exposition in words of one syllable. I'll leave you the paper. Professor, what have you concluded as to the causes?" "They are yet to be determined." "Pardon me," drawled Darrow, "they have been determined-or at least their controlling power." "In what way, may I ask?" inquired Professor Eldridge formally. "Very simply. By the exercise of a little reason. I am going to tell you, because I want you to start fairly with me; and because you'll know all about it in the morning, anyway." "Your idea-the one you told us yesterday-is to be published?" cried Helen, leaning forward with interest. "The basis of it will be," replied Darrow. "Now"-he turned to Eldridge-"listen carefully; I'm not going to indulge in many explanations. Malachi McCarthy, political boss of this city, has made a personal enemy of a half-crazed or at least unbalanced man, who has in some way gained a limited power over etheric and other vibrations. This power Monsieur X, as I call him-the Unknown-has employed in fantastic manifestations designed solely for the purpose of frightening his enemy into leaving this country." Eldridge was listening with the keenest attention, his cold gray eyes glittering frostily behind their toric lenses. "You support your major hypothesis, I suppose?" he...

Contemporary Irish Documentary Theatre is the first anthology of Irish documentary drama. It features five challenging plays by Irish writers, and one by an international author, interrogating and commenting on crucial events of Irish history and of the diaspora, with introductory essays by established academics. Together these plays represent the most innovative development in contemporary Irish theatre and illuminate the social and political realities of contemporary Ireland. The first two plays, of 2010 and 2013, deal with scandals of clerical and institutional abuse, and use as source material the Ryan Report of 2009, and the documents from the 2008 Irish Bank Guarantee. The next two, of 2014 and 2013, concern interpretations of the most iconic moment of Irish history: the Easter Rising. The first of these is based on published statements of participants in the event and the second on the lived experiences of those in the contemporary Republic whose founding ideals have not been realized . The last two plays, of 2015 and 2016, widen the view to the history of the Irish in the diaspora: one retelling the history of emigration to England based on published research material; and the other tracing Roger Casement's experiences in the Amazon and his subsequent participation in the Easter Rising using extracts from his diaries and other writings. The plays included and discussed are: No Escape by Mary Raftery Guaranteed by Colin Murphy Of This Brave Time by Jimmy Murphy History by Grace Dyas My English Tongue, My Irish Heart by Martin Lynch The Two Deaths of Roger Casement by Domingos Nunez