Cagney and Lacey meets Stephanie Plum in Swift Edge, this second in the hilarious private eye novel series from author Laura DISilverio When world-class figure skater Dmitri Fane goes missing, his partner knows just whom to hire. It's up to Swift Investigations to find the missing Fane, and fast---the Olympics are just weeks away. It should be no trouble for the investigative team of Charlie Swift and Gigi Goldman: Their chief obstacle is Gigi's teenage daughter, Kendall, and her mad crush on Fane. That is, until the skating team's coach is brutally attacked and a colleague of Dmitri is killed, and things start to get complicated. Gigi's corralling a lovesick Kendall and dying to test out the hilarious techniques from her surveillance class. Charlie's dodging bullets and fending off Detective Connor Montgomery's advances. Their client is suddenly MIA. Can Charlie and Gigi solve two missing-persons cases and a murder at once, or will the culprit get off skate-free? Fast-paced adventure, high-stakes intrigue, and the madcap capers of these unlikely partners-in-crime solving make Swift Edge a delightful and welcome addition to the series.

Finalist for the Lefty Award for Best Humorous Mystery With Charlie convalescing from a gunshot wound, Gigi is temporarily running Swift Investigations when Heather-Anne Pawlusik, the tramp who ran off with Gigi's husband, Les, saunters into the office. Heather-Anne wants to hire the firm to find Les, missing from their love nest in Costa Rica. Gigi tells her to am-scray, but the lure of a paying client is too much, and Les is the father of her children, so she accepts the case, against Charlie's advice. Attuned to her embezzling ex's habits, Gigi tracks down Les but he quickly loses her. When a body turns up, the cops start measuring Gigi for a prison jumpsuit, so she and Charlie frantically hunt for Les and dig into Heather-Anne's mysterious past because orange isn't Gigi's color. What Gigi discovers, not only about Les, but about herself and her feelings for him, surprises her as much as the killer's identity. Swift Run, Laura DiSilverio's third novel in this entertaining and original series, is a thrilling and hilarious romp. Readers will enjoy spending time with this engaging crime-fighting duo.

First published in 1983, Dean Swift is the concluding book in a series of three volumes providing a detailed exploration of the events of Swift’s life. The third volume follows Swift’s life and career from 1714 to 1745 and sets it against the public events of the age, paying close attention to political and economic change, ecclesiastical problems, social issues, and literary history. It traces Swift’s rise to becoming first citizen of Ireland and looks in detail at the composition, publication, and reception of Gulliver’s Travels, as well as many of Swift’s other works, both poetry and prose. It also explores Swift’s later years, his love affairs with Esther Johnson and Esther Vanhomrigh, his complicated friendships with Pope, Lord Bolingbroke, and Archbishop King, and his declining health. Dean Swift is a hugely detailed insight into Swift’s life from 1714 until his death and will be of interest to anyone wanting to find out more about his life and works.

A little bite for the holidays... No better time of the year to mend a few fences. If I'm going to win him back, it'll take a grand gesture. Something to prove I'm still the old Mercy he used to love... The gift is priceless. It's one-of-a-kind. He'll love it. At least I thought he would... How was I supposed to know the damn thing contained a freaking djinn?! Time to put the genie back in the bottle. But he won't go easy. Not until he's granted three wishes. The problem? Each wish comes gift-wrapped with something nasty... something deadly... Time to vamp-up and show that djinn that he's messing with the wrong bitch. Bloody Merry is the sixth book in The Fury of a Vampire Witch. You've met Mercy before in The Legacy of a Vampire Witch and The Blood Witch Saga. She's fought against devils and demons, insidious witches, and old-world vampires. When she returns to Exeter, where she grew up as a girl, she'll find enemies even bigger and badder than anything she's ever faced before. A great series for fans of the True Blood / Sookie Stackhouse novels or the Underworld franchise to sink their fangs into. The Fury of a Vampire Witch features a dark and twisty romance, action that could even get a vampire's heart pumping, and a snarky badass heroine.

Eighteen-year-old Cas Leung struggles with her morality and her romantic relationship with fellow pirate Swift as she and the Minnow crew work to take down wild sea monsters, dubbed Hellbeasts, who are attacking ships and destroying the ocean ecosystem.

An argument that theoretical works can signify through their materiality—their “noise,” or such nonsemantic elements as typography—as well as their semantic content. In Material Noise, Anne Royston argues that theoretical works signify through their materiality—such nonsemantic elements as typography or color—as well as their semantic content. Examining works by Jacques Derrida, Avital Ronell, Georges Bataille, and other well-known theorists, Royston considers their materiality and design—which she terms “noise”—as integral to their meaning. In other words, she reads these theoretical works as complex assemblages, just as she would read an artist's book in all its idiosyncratic tangibility. Royston explores the formlessness and heterogeneity of the Encyclopedia Da Costa, which published works by Bataille, André Breton, and others; the use of layout and white space in Derrida's Glas; the typographic illegibility—“static and interference”—in Ronell's The Telephone Book; and the enticing surfaces of Mark C. Taylor's Hiding, its digital counterpart The Réal: Las Vegas, NV, and Shelley Jackson's Skin. Royston then extends her analysis to other genres, examining two recent artists' books that express explicit theoretical concerns: Johanna Drucker's Stochastic Poetics and Susan Howe's Tom Tit Tot. Throughout, Royston develops the concept of artistic arguments, which employ signification that exceeds the semantics of a printed text and are not reducible to a series of linear logical propositions. Artistic arguments foreground their materiality and reflect on the media that create them. Moreover, Royston argues, each artistic argument anticipates some aspect of digital thinking, speaking directly to such contemporary concerns as hypertext, communication theory, networks, and digital distribution.