The facts confirm the UFO crash happened. Officials deny it. What don’t they want us to know? In 1965 a massive wave of UFO sightings occurs worldwide. In 1967 residents of Shag Harbor, Canada, witness a huge UFO crash into the bay. Three Royal Canadian Mounties watch it float before sinking. Navy divers mount an extensive search. Now officials say nothing ever happened. Why? Researchers Don Ledger and Chris Styles—Styles himself an eyewitness to the Shag Harbor crash—have tackled one of the best documented and most top-secret incidents in the annals of UFO sightings. What they have found out will astound—and outrage—readers. From mysterious surveillance twenty-five years after the crash to the sudden disappearance of written records, someone wanted the investigation stopped. But Ledger and Styles now file their stunning report—and reach a chilling conclusion about the Dark Object, what really happened, and what remains hidden today. . . .

Lacey Yeager is young, captivating, and ambitious enough to take the NYC art world by storm. Groomed at Sotheby's and hungry to keep climbing the social and career ladders put before her, Lacey charms men and women, old and young, rich and even richer with her magnetic charisma and liveliness. Her ascension to the highest tiers of the city parallel the soaring heights--and, at times, the dark lows--of the art world and the country from the late 1990s through today.

A dazzling debut about the power of family and the pain of betrayal set within Manhattan's Fifth Avenue apartments, the opulent mansions of the new Moscow, and the pre-revolutionary palaces of Saint Petersburg. Sasha Ozerovsky is a young expert in Russian art at Leighton's, an exclusive Manhattan auction house. When a dealer arrives from Moscow with an exquisite 1913 Fabergé figurine, Sasha immediately recognizes a rare masterpiece. But in the high stakes art world, the price of an object is tied to its history. If Sasha can determine for whom the bejeweled piece was made and where it has been hiding for the past century, its value -- and Sasha's career -- will soar. But as Sasha moves between New York's high society and Russia's new rich, he discovers that the piece once belonged to his family, and he must face questions about their past that he never dared to ask. Superbly plotted and evoking the elegance of Russia's gilded age, Object of Virtue is an enthralling tale that explores what happens to a family torn between vanity and virtue.

Poetry. African American Studies. Asian American Studies. LGBT Studies. Winner of the Publishing Triangle's 2010 Thom Gunn Award for Gay Poetry and the 13th Annual Asian American Literary Award for Poetry. "I applaud Ronaldo Wilson's pathbreaking movement into what has never, never, in history, been said. About sexuality, in particular, these poems speak with incorrigible and raving clarity. And, always, they display intellectual curiosity, and an impatient, gorgeous readiness to make language new." Wayne Koestenbaum " A] warning to anyone tempted to believe that in objectification lies freedom. Livid inside an apocalyptic negative capability, these poems are constructed through their maker's deconstruction, and reading, I too, felt unmade." Claudia Keelan "Ronaldo Wilson's POEMS OF THE BLACK OBJECT turns the parenthetical inside out, contents kicking and alive, person, race and being: where fate is in store in you, not for you, out there; in consciousness, and barely conscious, where consciousness is the accumulation of the scarcely discernible experiences. Wilson's poems captures states of person, the thinking being, the being thinking, the being perceived, and all the slippage between stages of person, Black and on the page, folding and unfolding layers of social construction." Erica Hunt "The force here is in the erotic attachment between the human figures certainly but also (and more surprisingly) between history and present-day experience. Ronaldo Wilson teases the reader with earnestness while he refracts event and experience. The effect is dazzling. The poems are panoramic. One part slave narrative, one part pillow book, POEMS OF THE BLACK OBJECT is a triumph of the social lyric: violent, tender, absurd." G.E Patterson "For all the disturbances examined in this intensely lucid book of bodily desire, dead porn stars, and the high art of human survival, the voice of these poems manages to maintain a kind of giddy composure. Perhaps the trick of it comes through his sense that, 'pattern organizes trauma, and so does speed.' It's not so fast, the pace here; we're made to look, to see, with shrewd intention. It's that Ronaldo Wilson's writing doesn't let you get too comfortable. It shifts experience and reckoning from poem to essay, theory to epistle, these intuitive modes of a person in search of a particular poetics, darting around sharp visions that could bloody or shine on the tempestuous landscape 'the black object' emerges from." Tisa Bryant"

Since Kant, philosophy has been obsessed with epistemological questions pertaining to the relationship between mind and world and human access to objects. In The Democracy of Objects, Bryant proposes that we break with this tradition and once again initiate the project of ontology as first philosophy. Drawing on the object-oriented ontology of Graham Harman, as well as the thought of Roy Bhaskar, Gilles Deleuze, Niklas Luhman, Aristotle, Jacques Lacan, Bruno Latour and the developmental systems theorists, Bryant develops a realist ontology that he calls "onticology". This ontology argues that being is composed entirely of objects, properties, and relations such that subjects themselves are a variant of objects. Drawing on the work of the systems theorists and cyberneticians, Bryant argues that objects are dynamic systems that relate to the world under conditions of operational closure. In this way, he is able to integrate the most vital discoveries of the anti-realists within a realist ontology that does justice to both the material and cultural. Onticology proposes a flat ontology where objects of all sorts and at different scales equally exist without being reducible to other objects and where there are no transcendent entities such as eternal essences outside of dynamic interactions among objects. Contents: Towards a Finally Subjectless Object Grounds For a Realist Ontology The Paradox of Substance Virtual Proper Being The Interior of Objects Regimes of Attraction, Parts, and Structure The Four Theses of Flat Ontology

Forensics expert Laughton Rees hunts an unusually clever killer who appears to be staging murder scenes just for her in this twisty new psychological thriller by the bestselling author of the Sanctus trilogy. How do you catch a killer if the victim doesn’t exist? A glamorous woman is murdered in her ultra-luxurious London mansion and her husband goes missing. But according to public records, neither of them exists. The only leads police have are several objects arranged around the woman’s body, including a set of keys and a book called How to Process a Murder by Laughton Rees—a book that appears to have helped the killer forensically cleanse the crime scene. Laughton Rees is an academic who doesn’t usually work live cases after the brutal murder of her mother as a teen left her traumatized and emotionally scarred. But the presence of her book at this scene draws her unwillingly into the high-profile investigation and media circus that springs up around it. As the dark objects found beside the body lead her closer to the victim’s identity, a dangerous threat to Laughton and her daughter emerges, as well as painful memories of her past related to the man she has always blamed for her mother’s death: John Rees, Laughton’s father, the current Metropolitan Chief Commissioner and a man she has not spoken to in twenty years. Laughton’s family was destroyed once and she built herself a new one. Now, she has to face her darkest fears and help catch a killer before this one is destroyed too.