"A gripping ghost tale with an enthralling storyline that will keep you guessing until the very end ." A heart-warming story about a man who, as a boy, was raised in an orphanage after his father abandoned him when he was five years old. Many years later, as an older gentleman, he begins having strange visions and ghostly encounters after moving onto his new property. It is only then that he learns the true story of why he never saw his father again. Aided by a phantom entity, he learns the truth of his heritage and the events that took place the night his father failed to return. Along the way, he will solve a half-century-old crime and free a restless soul. Even more significantly, he will make an immense discovery that will change his life and the lives of a community-forever. In this exciting and heartwarming tale, Clint Reeves learns that deceased souls can indeed communicate from beyond. And that even after the worst of times, life is full of surprises and happiness.

A company of infantryman is one of the most powerful and versatile weapons at a nation’s disposal. Capable of any number of tasks assigned to them, these are men for whom the mission always comes first. These are men of honor, men of loyalty, created for one purpose: destroy the enemies of their nation in armed conflict. But what happens when divisions begin to become evident in the heart and soul of these men? What happens when they begin to question their creation, question their reality, and question all they have been trained to hold dear? For the commander of Combat Outpost Chemera, these questions become all too real when events begin to spiral out of control during operations in several isolated mountain villages in the war-torn nation they have been sent to occupy. Boredom, poor decision making, treasonous actions, and the grim reality of death lurking around every corner send the captain spiraling into his books, into his childhood memories, and into an examination of his military career. How were we meant to live our lives? What gives us real purpose? Sometimes the experience of war is the only way to find the answer.

In the Bible's introduction are embedded foundational perspectives on "who God is" and "who humans are and what we should be doing" that are developed throughout the book. Genesis 1-3 is the story of beginnings, depicting who the Creator-God is, what this God intended for the creation, especially for the human creation, how humans messed up, and at least a hint of what God is doing about this. Like Jesus, the Apostle Paul, and early church leaders, when we want to know what God intended, we listen to the Bible's introduction. The Story of Beginnings deals with such questions as "What is the Image of God?" "Who were Adam and Eve?" "What does blessing the Sabbath mean?" and "How shall we understand 'the Fall' and its implications today?"

The inspiring, true coming-of-age story of a ferociously determined young man who, armed only with his intellect and his willpower, fights his way out of despair. In 1993, Cedric Jennings was a bright and ferociously determined honor student at Ballou, a high school in one of Washington D.C.’s most dangerous neighborhoods, where the dropout rate was well into double digits and just 80 students out of more than 1,350 boasted an average of B or better. At Ballou, Cedric had almost no friends. He ate lunch in a classroom most days, plowing through the extra work he asked for, knowing that he was really competing with kids from other, harder schools. Cedric Jennings’s driving ambition—which was fully supported by his forceful mother—was to attend a top college. In September 1995, after years of near superhuman dedication, he realized that ambition when he began as a freshman at Brown University. But he didn't leave his struggles behind. He found himself unprepared for college: he struggled to master classwork and fit in with the white upper-class students. Having traveled too far to turn back, Cedric was left to rely on his intelligence and his determination to maintain hope in the unseen—a future of acceptance and reward. In this updated edition, A Hope in the Unseen chronicles Cedric’s odyssey during his last two years of high school, follows him through his difficult first year at Brown, and tells the story of his subsequent successes in college and the world of work. Eye-opening, sometimes humorous, and often deeply moving, A Hope in the Unseen weaves a crucial new thread into the rich and ongoing narrative of the American experience.

This innovative approach to teaching Java language and programming uses game design development as the method to applying concepts. Instead of teaching game design using Java, projects are designed to teach Java in a problem-solving approach that is both a fun and effective. Learning Java with Games introduces the concepts of Java and coding; then uses a project to emphasize those ideas. It does not treat the object-oriented and procedure and loop parts of Java as two separate entities to be covered separately, but interweaves the two concepts so the students get a better picture of what Java is. After studying a rich set of projects, the book turns to build up a “Three-layer Structure for Games” as an architecture template and a guiding line for designing and developing video games. The proposed three-layer architecture not only merges essential Java object-oriented features but also addresses loosely coupled software architecture.

At three o'clock in the afternoon of the cold first Monday in March, 1601, a red flag rose, and a trumpet sounded thrice, from a little gabled turret protruding up out of a large wooden building in a field in that part of Southwark known as the Bankside and bordering on the Thames west of London Bridge. This rude edifice, or enclosure, was round (not like its successor, hexagonal) in shape; was in great part roofless; was built on a brick and stone foundation, and was encircled by a ditch for drainage. It was, in fact, the Globe Theatre; and the flag and trumpet meant that the "Lord Chamberlain's servants" were about to begin their performance, which, as the bill outside the door told in rough letters, was to be that of a new "Tragicall Historie of Hamlet Prince of Denmark," written by William Shakespeare. London folk knew this Master Shakespeare well as one of the aforesaid "servants," as the maker of most of the plays enacted now by those servants, and, which was deemed far more to his honor, as the poet of "Venus and Adonis" and "The Rape of Lucrece." Many who read the playbill guessed rightly that the new "tragicall historie" was based in part upon another author's old play, which they had seen performed many times in the past. The audience, in all colours and qualities of doublet and hose, ruff and cloak, feathered hat and plain cap and scholar's coif, had awaited noisily the parting of the worsted curtains of the stage projecting from one side of the circular interior of the barnlike playhouse. Around the other sides were wooden galleries, and under these was a raised platform divided into boxes called "rooms," whose fronts were hung with painted cloth. The stage and the actors' tiring-room behind it were under a roof of thatch. The boxes had the galleries for cover. But the great central O-shaped space, known as the "yard," where self-esteeming citizens, and assertive scholars, and black-robed lawyers, and burly soldiers, and people of countless occupations, and people of no occupation at all, stood and crowded and surged and talked and chaffed, and bought fruit and wine and beer from the clamorous venders, had no ceiling but the sky. It had no floor but the bare ground, and no seats whatever.