A new steamy standalone college romance from #1 New York Times bestselling author Rachel Van Dyken!

Some said that the killer couldn't be a local. Others claimed that he was the wealthy son of a prominent Morgantown family. Whispers spread that Mared and Karen were sacrificed by a satanic cult or had been victims of a madman poised to strike again. Then the handwritten letters began to arrive: "You will locate the bodies of the girls covered over with brush--look carefully. The animals are now on the move." Investigators didn't find too few suspects--they had far too many. There was the campus janitor with a fur fetish, the "harmless" deliveryman who beat a woman nearly to death, the nursing home orderly with the bloody broomstick and the bouncer with the "girlish" laugh who threatened to cut off people's heads. Local authors Geoffrey C. Fuller and S. James McLaughlin tell the complete story of the murders for the first time.

In the 1960s, a new generation of university-educated youth in Japan challenged forms of capitalism and the state. In Coed Revolution Chelsea Szendi Schieder recounts the crucial stories of Japanese women's participation in these protest movements led by the New Left through the early 1970s. Women were involved in contentious politics to an unprecedented degree, but they and their concerns were frequently marginalized by men in the movement and the mass media, and the movement at large is often memorialized as male and masculine. Drawing on stories of individual women, Schieder outlines how the media and other activists portrayed these women as icons of vulnerability and victims of violence, making women central to discourses about legitimate forms of postwar political expression. Schieder disentangles the gendered patterns that obscured radical women's voices to construct a feminist genealogy of the Japanese New Left, demonstrating that student activism in 1960s Japan cannot be understood without considering the experiences and representations of these women.

Browne makes a case against women in combat, based on research in anthropology, biology, history, psychology, sociology, and law, as well as military memoirs. It asks hard questions that challenge the assumptions of feminists. For instance: 5 Has warfare really changed so much as to reverse the almost unanimous history of all-male armed forces? 5 Are men and women really equivalent in combat skills, even leaving aside physical strength? 5 Do female troops respond to traditional types of motivations? 5 Can the bonds of unit cohesion form in a co-ed military unit? 5 Can an all-volunteer military afford to reject women?

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.