For lovers of Diana Gabaldon's Outlander, a sexy Scottish time travel romance from award-winning author Gwyn Cready Thrown back to the sizzling tensions of the Scottish borderlands Librarian Panna Kennedy battles budget cuts, eccentric patrons, and the loneliness of early widowhood until she ventures through a long-locked door under the library's stairs and finds herself in the opulent eighteenth-century castle library of the dashing and dangerously handsome Captain Jamie Bridgewater. Can she trust a handsome hero? Jamie is embroiled in a risky game of high-stakes subterfuge on the Scottish/English border, where loyalty to the wrong cause can cost you your life, and Panna is instantly swept into the intrigue. Their adventure takes them across the border into perilous and passion-filled territory. But when Jamie is caught and Panna realizes she holds the key to his destiny, will she return to safety as he demands, or follow her timeless desire? "The master of time travel romance." —Booklist "A thrill-ride of a time travel romance, a genre Gwyn Cready has quickly come to master." —Sapphyria's Steamy Book Reviews "A time-bending treat." — Full Moon Bites

Emily arrives at Westbury Hall with a job to do. She’s to clean and conserve all of the books in their impressive library, preserving them for future generations. Not long into her stay at the house, she bumps into the night guard, George. She’d expected an old, balding guy with a comb over, so the hunky chap she actually meets is a very pleasant surprise. The introductions complete, George leaves Emily in peace to get on with her job. But when a falling photograph sets off a chain reaction of ghostly events, Emily and George are thrown together in order to find out who—or what—is causing them. Their investigation uncovers a tragic past, a lost love, and a stunning secret. PLEASE NOTE: This is a revised and extended version of a previously published title, Love Through Time. *** Keywords: paranormal, erotic romance, ghost.

When tragedy strikes Michele Windsor’s world, she is forced to uproot her life and move across the country to New York City, to live with the wealthy, aristocratic grandparents she’s never met. In their old Fifth Avenue mansion filled with a century’s worth of family secrets, Michele discovers a diary that hurtles her back in time to the year 1910. There, in the midst of the glamorous Gilded Age, Michele meets the young man with striking blue eyes who has haunted her dreams all her life – a man she always wished was real, but never imagined could actually exist. And she finds herself falling for him, into an otherworldly, time-crossed romance. Michele is soon leading a double life, struggling to balance her contemporary high school world with her escapes into the past. But when she stumbles upon a terrible discovery, she is propelled on a race through history to save the boy she loves – a quest that will determine the fate of both of their lives.

From the early 1990s, allegations that servicemen had been duped into taking part in trials with toxic agents at top-secret Allied research facilities throughout the twentieth century featured with ever greater frequency in the media. In Britain, a whole army of over 21,000 soldiers had participated in secret experiments between 1939 and 1989. Some remembered their stay as harmless, but there were many for whom the experience had been all but pleasant, sometimes harmful, and in isolated cases deadly. Secret Science traces, for the first time, the history of chemical and biological weapons research by the former Allied powers, particularly in Britain, the United States, and Canada. It charts the ethical trajectory and culture of military science, from its initial development in response to Germany's first use of chemical weapons in the First World War to the ongoing attempts by the international community to ban these types of weapons once and for all. It asks whether Allied and especially British warfare trials were ethical, safe, and justified within the prevailing conditions and values of the time. By doing so, it helps to explain the complex dynamics in top-secret Allied research establishments: the desire and ability of the chemical and biological warfare corps, largely comprised of military officials, scientists, and expert civil servants, to construct and identify a never-ending stream of national security threats which served as flexible justification strategies for the allocation of enormous resources to conducting experimental research with some of the most deadly agents known to man. Secret Science offers a nuanced, non-judgemental analysis of the contributions made by servicemen, scientists, and civil servants to military research in Britain and elsewhere, not as passive, helpless victims 'without voices', or as laboratory and desk perpetrators 'without a conscience', but as history's actors and agents of their own destiny. As such it also makes an important contribution to the burgeoning literature on the history and culture of memory.

The book is a collection of 89 soulful poems that reflect on how any ordinary individual feels, processes and expresses the complex emotions while reacting to the successes and failures of relationships. The poems are presented in thirteen sections, each of which represents a specific phase of the emotional journey of one’s life, love, friendship, family, and relationships. Each poem is a memoir of the author’s experiences at various stages of personal relationships. The poems included in this volume express a range of emotions any adolescent, young adult or grown-up feels such as love & friendship; attraction & infatuations; belongingness & loneliness; togetherness & separation; rejections & acceptances; frustrations & angers; obsessions & passion; successes & failures; confusions and reflections; heart & mind and other powerful emotions. These moments, recounted through the poems in this book, stay with us forever, no matter how much we grow up in age, experience, and maturity. The book is like a time machine that would allow one to reflect back at his or her innocent times and reliving those moments again and again.

You are a four-dimensional human. Each of us exists in three-dimensional, physical space. But, as a constellation of everyday digital phenomena rewires our lives, we are increasingly coaxed from the containment of our predigital selves into a wonderful and eerie fourth dimension, a world of ceaseless communication, instant information, and global connection. Our portals to this new world have been wedged open, and the silhouette of a figure is slowly taking shape. But what does it feel like to be four-dimensional? How do digital technologies influence the rhythms of our thoughts, the style and tilt of our consciousness? What new sensitivities and sensibilities are emerging with our exposure to the delights, sorrows, and anxieties of a networked world? And how do we live in public with these recoded private lives? Laurence Scott—hailed as a "New Generation Thinker" by the Arts and Humanities Research Council and the BBC—shows how this four-dimensional life is dramatically changing us by redefining our social lives and extending the limits of our presence in the world. Blending tech-philosophy with insights on everything from Seinfeld to the fall of Gaddafi, Scott stands with a rising generation of social critics hoping to understand our new reality. His virtuosic debut is a revelatory and original exploration of life in the digital age.

This book offers a set of eleven discipline-specific chapters from across the arts, humanities, psychology, and medicine. Each contributor considers the creative potential of error and/or ambiguity, defining these terms in the particular context of that discipline and exploring their values and applications. Themes include error in choreography, poetry, media art, healthcare, psychology, critical typography and mixed reality performance. The book emerges from a core question of how dance research and HCI can inform each other through consideration of error, ambiguity and ‘messiness’ as methodological tools. The digital age had heralded the possibility that error could be eradicated by the logic of computers but several chapters focus on glitch in arts practices that exploit errors in computer programmes, or even create programmes specifically to produce errors. Together, the chapters explore how error can take us somewhere different or somewhere new, to develop a new, more interesting way of working.