In this breathtaking sequel to "Dead I Well May Be," the mercenary Michael Forsythe is forced to infiltrate an Irish terrorist cell on behalf of the FBI, confronting murder, mayhem, and the prospect of his own death.

Named the Dolman Travel Book of the Year, The Dead Yard paints an unforgettable portrait of modern Jamaica. Since independence, Jamaica has gradually become associated with twin images--a resort-style travel Eden for foreigners and a new kind of hell for Jamaicans, a society where gangs control the areas where most Jamaicans live and drug lords like Christopher Coke rule elites and the poor alike. Ian Thomson's brave book explores a country of lost promise, where America's hunger for drugs fuels a dependent economy and shadowy politics. The lauded birthplace of reggae and Bob Marley, Jamaica is now sunk in corruption and hopelessness. A synthesis of vital history and unflinching reportage, The Dead Yard is "a fascinating account of a beautiful, treacherous country" (Irish Times).

As Jack the Ripper’s reign of terror in London comes to an end, a new era of depravity sets the stage for the first gripping mystery featuring the detectives of Scotland Yard’s Murder Squad. “If Charles Dickens isn’t somewhere clapping his hands for this one, Wilkie Collins surely is.”—The New York Times Book Review Victorian London—a violent cesspool of squalid sin. The twelve detectives of Scotland Yard’s Murder Squad are expected to solve the thousands of crimes committed in the city each month. Formed after the Metropolitan Police’s spectacular failure in capturing Jack the Ripper, they suffer the brunt of public contempt. But no one can anticipate the brutal murder of one of their own... A Scotland Yard Inspector has been found stuffed in a black steamer trunk at Euston Square Station, his eyes and mouth sewn shut. When Walter Day, the squad’s new hire, is assigned to the case, he finds a strange ally in Dr. Bernard Kingsley, the Yard’s first forensic pathologist. Their grim conclusion: this was not just a random, bizarre murder but in all probability, the first of twelve. The squad itself it being targeted and the devious killer shows no signs of stopping. But Inspector Day has one more surprise, something even more shocking than the crimes: the murderer’s motive.

A colorful guide covering the basics of replacing a traditional lawn with a wide variety of easy-care, no-mow, drought-tolerant, money-saving options that will appeal to today's busy, eco-conscious homeowner. Americans pour 300 million gallons of gas and 1 billion hours every year into mowing their lawns, not to mention 70 million pounds of pesticides and $40 billion for lawn upkeep. No Wonder the anti-lawn movement is thriving, as today's eco-conscious consumers realize that their traditional lawns are water-hogging, chemical-ridden, maintenance-intensive burdens. Lawn Gone!, from award-winning gardening blogger Pam Penick, is the first basic introduction to low-water, easy-care lawn alternatives for beginning gardeners, written in a friendly style with an approachable package. It covers all the available time-saving options: alternative grasses, ground cover plants, artificial turf, hardscaping, mulch, and more. In addition, it includes step-by-step lawn-removal methods, strategies for dealing with neighbors and homeowner associations, and how to minimize your lawn if you're not ready to go all the way.

Tells the story of Jamaican “scammers” who use crime to gain autonomy, opportunity, and repair There is romance in stealing from the rich to give to the poor, but how does that change when those perceived rich are elderly white North Americans and the poor are young Black Jamaicans? In this innovative ethnography, Jovan Scott Lewis tells the story of Omar, Junior, and Dwayne. Young and poor, they strive to make a living in Montego Bay, where call centers and tourism are the two main industries in the struggling economy. Their experience of grinding poverty and drastically limited opportunity leads them to conclude that scamming is the best means of gaining wealth and advancement. Otherwise, they are doomed to live in “sufferation”—an inescapable poverty that breeds misery, frustration, and vexation. In the Jamaican lottery scam run by these men, targets are told they have qualified for a large loan or award if they pay taxes or transfer fees. When the fees are paid, the award never arrives, netting the scammers tens of thousands of U.S. dollars. Through interviews, historical sources, song lyrics, and court testimonies, Lewis examines how these scammers justify their deceit, discovering an ethical narrative that reformulates ideas of crime and transgression and their relationship to race, justice, and debt. Scammer’s Yard describes how these young men, seeking to overcome inequality and achieve autonomy, come to view crime as a form of liberation. Their logic raises unsettling questions about a world economy that relegates postcolonial populations to deprivation even while expecting them to follow the rules of capitalism that exacerbate their dispossession. In this groundbreaking account, Lewis asks whether true reparation for the legacy of colonialism is to be found only through radical—even criminal—means.

Of the ethnic gangs that rule America's inner cities, none has had the impact of the Jamaican posses. Spawned in the ghettos of Kingston as mercenary street-fighters for the island's politicians, the posses began migrating to the United States in the early 1980's, just in time to catch and ride the crack wave as it engulfed the country. Laurie Gunst's provocative exposé of the Jamaican politicians' role in creating this problem is also a moving and compelling tale of suffering and exploitation. Leone Ross' substantial afterword examines further the issues raised by the book from a British and Jamaican perspective. --Back cover.

In Jan Beatty's fourth collection, The Switching/Yard, she takes us through the ravaged landscape of the American West. In unflinching lines of burning lyric and relentless narrative, she forges the constructed body into movement. What is still stereotyped as the romantic journey—now becomes as scarred as the Rust Belt. What lives in our collective unconscious as the Golden West becomes almost surreal, as these poems snap that vision in half with extended description of ghost explorers. We see the open truck cab, the farm workers on the corner waiting for pick-up; we see the speaker returning west to find the long-abandoned story of the birthfather. There is no stable landscape here except the horizontal action of moving through. Landscape becomes story. In this extended tale of the idea of family, we find stand-ins for the father in the form of a hit man, Jim Morrison, and ultimately the unyielding road takes the place of the body. The Switching/Yard is at once the horizontal world of the birth table where babies are switched, the complex yard of the body where gender routinely shifts and switches, and the actual switching yard of the trains that run the inevitable tracks of this book.