After government agent Daniel Lansbury fakes the executions of three religious believers on national television, he and the fugitives Alisa Kent, Ian Roshek, and Ian's sister, Jill face the perilous task of outwitting President Amanda Ryce and her power-hungry Council long enough to escape to freedom. Meanwhile, Daniel's estranged father, Marcus, an underground terrorist leader, is hatching plans to sabotage the breakable trust between Daniel and Ian, put himself in power at the head of the nation, and endanger any hope of bringing to light the wrongs committed against the citizens of a fragile, fledgling nation.

Young lawyer Parker House is on the rise—until his grandfather’s mysterious past puts both of their lives in danger. Parker House’s secret inheritance is either his greatest blessing . . . or his deadliest curse. The fresh-faced North Carolina attorney shares his German grandfather’s uncanny ability to see future events in his mind’s eye—a gift that has haunted 82-year-old Frank House through decades of trying to erase a murderous wartime past. While Parker navigates the intrigue and politics of small-town courtroom law, Frank is forced to face his darkest regrets. Then, a big career break for Parker collides with a new love he longs to nurture and the nightmares his grandfather can no longer escape. Sudden peril threatens to shatter not only Parker’s legal prospects but also his life and the lives of those dearest to him. Two witnesses, two paths, an uncertain future.

Witness to History, a comprehensive book on the Holocaust aimed at both laymen and Jewish high school and college students, is unique in that it is a fully sourced, academically reliable history of the Holocaust, with particular emphasis on the experiences of religious Jews.

Today more than ever before, the historical witness is now a “museum objectâ€_x009d_ in the form of video interviews with individuals remembering events of historical importance. Such video testimonies now not only are part of the collections and research activities of museums, but become deeply intertwined with narrative and exhibit design. With a focus on Holocaust museums, this study scrutinizes for the first time this new global process of “musealisationâ€_x009d_ of testimony, exploring the processes, prerequisites, and consequences of the transformation of video testimonies into exhibits.

In recent years, the world community has demonstrated a renewed commitment to the pursuit of international criminal justice. In 1993, the United Nations established two ad hoc international tribunals to try those responsible for genocide and crimes against humanity in the former Yugoslavia and Rwanda. Ten years later, the International Criminal Court began its operations and is developing prosecutions in its first two cases (Congo and Uganda). Meanwhile, national and hybrid war crimes tribunals have been established in Sierra Leone, Kosovo, Serbia and Montenegro, Croatia, Bosnia and Herzegovina, East Timor, Indonesia, Iraq, and Cambodia. Thousands of people have given testimony before these courts. Most have witnessed war crimes, including mass killings, torture, rape, inhumane imprisonment, forced expulsion, and the destruction of homes and villages. For many, testifying in a war crimes trial requires great courage, especially as they are well aware that war criminals still walk the streets of their villages and towns. Yet despite these risks, little attention has been paid to the fate of witnesses of mass atrocity. Nor do we know much about their experiences testifying before an international tribunal or the effect of such testimony on their return to their postwar communities. The first study of victims and witnesses who have testified before an international war crimes tribunal, The Witnesses examines the opinions and attitudes of eighty-seven individuals—Bosnians, Muslims, Serbs, and Croats—who have appeared before the International Criminal Tribunal for the former Yugoslavia.

Proven step-by-step methods that will help you bring Jehovah’s Witnesses to Christ. While serving as an Associate Pastor in 1996, Daniel Rodriguez was instrumental in targeting his city’s large Jehovah’s Witness population. Construction of a Kingdom Hall was stopped because the strategies in this book either won Witnesses to Christ or destroyed their faith in the Watchtower Society. The step-by-step plan in this practical, easy-reading book will help you to reach Jehovah’s Witnesses like you never thought possible. Discover: Why Jehovah’s Witnesses won’t listen when you quote your Bible. How to get them to actually hear and receive your words. How you can get them to doubt their leaders. Tactics they use to get Christians sidetracked. You Will Also Learn: The logic that is such an effective tool to reach them. How to persuade honest Witnesses to reject the authority of the Watchtower Society. How Watchtower publications contradict themselves, the Bible, and their religion. Why the first thing you must do is destroy their faith in the Watchtower, and how to do it. If you want to be more successful at sharing the gospel with Jehovah’s Witnesses, here’s help.

While trauma theory has been adopted by contemporary literary and cultural studies as an ethical way to study depictions of suffering, there is a risk that its present use could cause more harm than good. By emphasizing inaccessible histories, unspeakable suffering, and unconscious witnessing, trauma theory may lead readers to claim others’ suffering through empathic identification. In With the Witnesses, Dale Tracy argues that poetry offers an alternative approach to engage with not only suffering in art but suffering in general. Examining the strategies of witness poetry, Tracy interrogates and reformulates the dominant models of trauma studies in which readers take over the witnessing position by identifying with the speaker as a witness. If the purpose of reading such poetry is to contribute to a chain of witnesses, what is the distinct role of a reader, and how does it differ from the role of the poem’s speaker? Tracy proposes that metonymy – a logic of nearness rather than likeness – is compassion’s formal manifestation. Analyzing poetry that emphasizes the contiguity of metonymy over the substitution of metaphor, she attends to the positions into which witnessing speakers invite readers. Poems that respond to diverse national and transnational contexts of atrocity, conflict, and marginalization guide With the Witnesses toward a compassionate response to suffering that involves feeling with – not as – another. Following each poem as a unique theory of compassion, With the Witnesses demonstrates that poems hold suffering signed as art, not claimable traces of suffering.