Fortified Dreams

There is a conspiracy afoot, one involving some of the most dangerous people on the planet. A network of organized serial killers exists; Aislinn Cain and the SCTU have found evidence of it. Yet, they have very few leads. Until the serial killers go on the offensive and Aislinn Cain wakes up to find herself living her worst fears. They have stormed the Federal Offices where Nyleena Clachan works and staged an uprising within the serial killer prison, The Fortress. To bring an end to this madness and find out who is behind it all, sacrifices will have to be made. The costs will be high as Aislinn and the team go up against some of the baddest serial killers that exist.

Snuff films are a myth. Everyone knows that. When a serial killer begins rampaging through Kansas City, Missouri, the press dubs him The Lady Burner, because after he kills his victims, he sets their bodies on fire and burns down their houses. The SCTU knows that the fires are just a forensic counter measure. He’s covering his tracks; he rapes and strangles these women while filming it. He offers the videos up for sale on the dark web, forcing Aislinn Cain and the SCTU to track a killer through the sleazy digital marketplaces where someone can buy anything if they have enough money. However, once inside the marketplaces, Aislinn realizes it’s not just a case of tracking down the person selling the videos. There’s an infrastructure in place that insulates the video maker, the seller, the distributor, and the buyers. Ensuring everything on the dark web, even the makers of snuff films, are anonymous

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

The Fictions of Dreams explores the close connection between the narrative nature of dreams and the narrative devices employed in literature and creative writing. The book is unique in its confluential approach, linking the fictions of dreams with literary fictions and case studies which illuminate the centrality of dream analysis in therapeutic work. Dreams and literature are closely related. The dream's essence lies in its narrative facility. Dreams are autobiographical fictions which tell the story of the dreamer's life history, her insertion in transgenerational family themes, and her ethnic and cultural identity. In that sense dreams are psycho-social depositories and makers, not unlike what can be found in world literature: the recreation of interiority and historicity of a given time period. The interconnected worlds of dreaming and fiction writing tend to employ the same narrative devices: the memorial mode (Patrick Modiano), multi-temporality (Gabriel Garcia Marquez), poeisis (Kafka, Ted Hughes, Colm Toibin), historical consciousness (Irene Nemirowsky), and 'infinite connectivity' (Patrick White).

There is a conspiracy afoot, one involving some of the most dangerous people on the planet. A network of organized serial killers exists; Aislinn Cain and the SCTU have found evidence of it. Yet, they have very few leads. Until the serial killers go on the offensive and Aislinn Cain wakes up to find herself living her worst fears. They have stormed the Federal Offices where Nyleena Clachan works and staged an uprising within the serial killer prison, The Fortress. To bring an end to this madness and find out who is behind it all, sacrifices will have to be made. The costs will be high as Aislinn and the team go up against some of the baddest serial killers that exist.

#1 NEW YORK TIMES BESTSELLER • NATIONAL BOOK AWARD WINNER • NAMED ONE OF TIME’S TEN BEST NONFICTION BOOKS OF THE DECADE • PULITZER PRIZE FINALIST • NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST • ONE OF OPRAH’S “BOOKS THAT HELP ME THROUGH” • NOW AN HBO ORIGINAL SPECIAL EVENT Hailed by Toni Morrison as “required reading,” a bold and personal literary exploration of America’s racial history by “the most important essayist in a generation and a writer who changed the national political conversation about race” (Rolling Stone) NAMED ONE OF THE MOST INFLUENTIAL BOOKS OF THE DECADE BY CNN • NAMED ONE OF PASTE’S BEST MEMOIRS OF THE DECADE • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY The New York Times Book Review • O: The Oprah Magazine • The Washington Post • People • Entertainment Weekly • Vogue • Los Angeles Times • San Francisco Chronicle • Chicago Tribune • New York • Newsday • Library Journal • Publishers Weekly In a profound work that pivots from the biggest questions about American history and ideals to the most intimate concerns of a father for his son, Ta-Nehisi Coates offers a powerful new framework for understanding our nation’s history and current crisis. Americans have built an empire on the idea of “race,” a falsehood that damages us all but falls most heavily on the bodies of black women and men—bodies exploited through slavery and segregation, and, today, threatened, locked up, and murdered out of all proportion. What is it like to inhabit a black body and find a way to live within it? And how can we all honestly reckon with this fraught history and free ourselves from its burden? Between the World and Me is Ta-Nehisi Coates’s attempt to answer these questions in a letter to his adolescent son. Coates shares with his son—and readers—the story of his awakening to the truth about his place in the world through a series of revelatory experiences, from Howard University to Civil War battlefields, from the South Side of Chicago to Paris, from his childhood home to the living rooms of mothers whose children’s lives were taken as American plunder. Beautifully woven from personal narrative, reimagined history, and fresh, emotionally charged reportage, Between the World and Me clearly illuminates the past, bracingly confronts our present, and offers a transcendent vision for a way forward.

While celebrating the centenary of the “annus mirabilis” of modernism, we now encounter modernism after postmodernist, poststructuralist, postcolonial, critical race, feminist, queer and trans writing and theory. Out of the figures, narratives and concepts they have developed, a less universal, more global, decentred, context-specific, interconnected modernism emerges. In “after modernism” the meanings of “after” include periodisation, homage and critique. This book attends to neglected genealogies and intertexts—“high” and “low,” yet offering unacknowledged ontological, epistemological, conceptual and figurative resources. How have artists of the Global South negotiated the hierarchical division of art capital into Western high art vs. Global-South culture? Modernity’s location has been the Western metropolis, but other origin stories have been centring slavery, colonialism, the nation-state. If modernity did not originate once, why not multiple and still-to-come modernities? Instead of a universalizable Western modernity vs. local non-Western traditions, the contributors to this book discern multiple modern traditions. Rather than reifying their heterogeneity, the authors tunnel for lost transnational connections. The nation-state and the citizen have together defined Western modernity and the “civilized.” Yet they have required the gender binary, gender and sexual normativity, assimilation, exclusion, forced migration, partition, segregation. In-between the public and the private, humans and the natural world, this book explores a multiple, relational modern subjectivity, collectivity and cosmic interconnectivity, whose space is indivisible, entangled, ever folding and unfolding. It was originally published as a special issue of the journal Angelaki.