I haven't had an easy go at life, it's been downright painful at times. So when I received my acceptance letter into Andrik University, I was over the moon.That was until I realized that no matter how far I ran, no matter how much I longed to be left alone, my life would catch up with me.I refuse to just roll over and accept my fate... even if it kills me.Warning: This book is intended for ages 18+ It contains several violent scenes and many sensitive subjects as well as trigger words. Please read at your own discretion

In spite of focusing on the famous battles like other books from this time period dealing with historical aspects of the Civil War, Capturing a Locomotive gives the reader personal accounts of the Union soldiers who carried out the mission. The story details the capture of a railway train inside Confederate territory. Survivors of this mission were the first soldiers with the rank of Private awarded with the Congressional Medal of Honor.

An evil genius. An FBI agent obsessed with catching him. A woman with a secret. FBI agent Dolan Watts is determined to catch a criminal who has his sights set on ruining his career. When Dolan is forced into therapy or else lose his job, he discovers his therapist has a secret of her own. A secret related to his current case. The thing he doesn't know: Her secret can kill. Capturing Fate is the second book in the Blood is Thicker Than Series of dark romantic thrillers. It features a loner who must learn to believe in love to survive. If you devour edge of your seat thrillers and romance novels you'll love a series that combines both in a roller-coaster ride of mind games and tragic love. Trigger warning: Depictions of violence.

"A study of popular representations of women and the creation of hierarchies of race and gender in the Canadian Prairies in the late 1800s, Capturing Women fits into a growing body of literature on the question of women, race, and imperialism. Sarah Carter argues that images of Native and European women were created and manipulated to establish boundaries between Native peoples and white settlers and to justify repressive measures against the Native population." --

In a discourse on 22nd April, 1998, in the hills of Kodaikanal, Bhagawan Sri Sathya Sai Baba made a revelation about an aspect of God. “The photographer asks you to be ready when he snaps your picture and he gives you time to ready yourself. But, the Divine Cameraman will not give you any notice. You should always be ready to meet the situation. If you engage yourself in bhajan and daivachintanam (thinking of God) – keerthanam and smaranam (singing and remembrance) – you will not be caught unawares.” The Divine Cameraman wants us to appreciate and love His uncertainty. The prerequisite for seeking the Lord who is ever compassionate is to be ever ready and that is something that the author realized as he graduated from Swami’s educational wing into His service wing. One has to be alert always, because things can ‘click’ at any time; there can be a ‘flash’ of inspiration during any hour of the day and though situations appear to have been captured in a ‘negative’ way, they can quickly be ‘developed’ into the ‘positive’ to fill one with beautiful memories. It was an honour, a privilege, and a boon from the highest heavens in fact, that Aravind got the chance to be His cameraman for a few years. However, that did not reverse the roles with respect to readiness. Aravind had to be alert at all times and be ready to “meet the situation” as Swami puts it. He confesses that he has not been alert all the while, but whenever he was alert and sincere, an experience with the Divine unfolded. This book is a collection of such moments – moments that arose at the most unexpected times and in the most beautiful ways to assure him that his Beloved Bhagawan always has him in His sight.

In his expansive history of documentary work in the South during the twentieth century, Scott L. Matthews examines the motivations and methodologies of several pivotal documentarians, including sociologist Howard Odum, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. Their work salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to the region's racial caste system and exploitative agricultural economy. Images of alluring primitivism and troubling pathology often blurred together, neutralizing the aims of documentary work carried out in the name of reform during the Progressive era, New Deal, and civil rights movement. Black and white southerners in turn often resisted documentarians' attempts to turn their private lives into public symbols. The accumulation of these influential and, occasionally, controversial documentary images created an enduring, complex, and sometimes self-defeating mythology about the South that persists into the twenty-first century.