A woman goes missing – and for the detective, this time it's personal. Criminologist Martin Knight lives a gilded life. But then his wife Liz disappears. There is no good explanation and Martin goes on the run. To make things worse, Liz is the ex-girlfriend of DCI Craig Gillard who finds himself drawn into the investigation. Is this a missing-person case or something more sinister? How dark can the truth be? Utterly gripping and full of twists, this is a compulsive thriller from master Nick Louth for fans of Robert Bryndza, Patricia Gibney and Carole Wyer. Praise for Nick Louth 'This splendid, chilling crime tale gripped me from the first page' Fresh Fiction ‘A fast-paced and explosive thriller about a subject that really matters’ Reader review ‘This was up there with the best thrillers I have ever read' Reader review

Includes cases argued and determined in the District Courts of the United States and, Mar./May 1880-Oct./Nov. 1912, the Circuit Courts of the United States; Sept./Dec. 1891-Sept./Nov. 1924, the Circuit Courts of Appeals of the United States; Aug./Oct. 1911-Jan./Feb. 1914, the Commerce Court of the United States; Sept./Oct. 1919-Sept./Nov. 1924, the Court of Appeals of the District of Columbia.

This collection contains critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners. It discusses and describes bodies in contemporary performance, theatre, visual art and dance; in circus and ethnographic shows; in performance training, butoh and wrestling; at gay and lesbian dance parties; and in relation to digital images. It explores historical and theoretical issues of gender and postcoloniality, technology, and the location of bodies in architectural, social and virtual spaces.

Music, by its indeterminate levels of meaning, poses a necessary challenge to a theology bound up in words. Its distinctive nature as temporal and embodied allows a unique point of access to theological understanding. Yet music does not exist in a cultural vacuum, conveying universal truths, but is a part of the complex nature of human lives. This understanding of music as theology stems from a conviction that music is a theological means of knowing: knowing something indeterminate, yet meaningful. This is an exploration of the means by which music might say something otherwise unsayable, and in doing so, allow for an encounter with the mystery of God.