Killing Critics

NYPD sergeant Kathleen Mallory, a wild child turned policewoman, possessed of a ferocious intelligence and a unique inner compass of right and wrong, is about to be sorely tested. Killing Critics begins with a discreet murder - the almost unnoticed death of a hack artist at a gallery opening - but quickly connects with a much more brutal crime - a twelve-year-old double homicide and dismemberment originally investigated by Mallory's now deceased adoptive father, Louis Markowitz. A quick confession ended that case, but as Mallory probes into the new murder, the ghosts of the old will not be still. She finds herself traveling in an intricately connected world of envy, greed, and lethal passions: a place where no relationship is what it seems, and the secrets, very deep and very dark indeed, strike closer and closer to home. By the end, she will come to know the truth - but the truth may be the most dangerous illusion of all.

The war on terror is remaking conventional warfare. The protracted battle against a non-state organization, the demise of the confinement of hostilities to an identifiable battlefield, the extensive involvement of civilian combatants, and the development of new and more precise military technologies have all conspired to require a rethinking of the law and morality of war. Just war theory, as traditionally articulated, seems ill-suited to justify many of the practices of the war on terror. The raid against Osama Bin Laden's Pakistani compound was the highest profile example of this strategy, but the issues raised by this technique cast a far broader net: every week the U.S. military and CIA launch remotely piloted drones to track suspected terrorists in hopes of launching a missile strike against them. In addition to the public condemnation that these attacks have generated in some countries, the legal and moral basis for the use of this technique is problematic. Is the U.S. government correct that nations attacked by terrorists have the right to respond in self-defense by targeting specific terrorists for summary killing? Is there a limit to who can legitimately be placed on the list? There is also widespread disagreement about whether suspected terrorists should be considered combatants subject to the risk of lawful killing under the laws of war or civilians protected by international humanitarian law. Complicating the moral and legal calculus is the fact that innocent bystanders are often killed or injured in these attacks. This book addresses these issues. Featuring chapters by an unrivalled set of experts, it discusses all aspects of targeted killing, making it unmissable reading for anyone interested in the implications of this practice.

"For 2,500 years, since the time of Herodotus and Thucydides, historians have sought to record the truth about the past. Today, however, the discipline is suffering a potentially lethal attach from the rise to prominence of an array of French-inspired literary and social theories, each of which denies that truth and knowledge about the past are possible. These theories claim the central point on which history was founded no longer holds: there is no fundamental distinction between history and myth or between history and fiction." "Historians in classrooms from Berkeley to Paris have embraced these views, and an increasing number of literary critics and social theorists now feel free to define their own work as history and to call themselves historians. The result is revolutionary: historians have not only changed how history is taught, they are also increasingly obscuring the very facts on which the truth must be built. In The Killing of History, Keith Windschuttle offers both a devastating expose of the absurdity of these developments and a defense of the integrity of Western intellectual traditions which are now so widely attacked." "Windschuttle examines exactly what is being taught about Columbus' discovery of the New World; the history of asylums and prisons in Europe; the fall of Communism in 1989; and the Battle of Quebec in 1759. He offers a much needed defense of traditional history as a properly scientific endeavor and argues that the great works of history should still be regarded as among the finest forms of Western literature."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

THE MUST-READ MULTIMILLION BESTSELLING MYSTERY SERIES • The final book in the A Good Girl's Guide to Murder series that reads like your favorite true crime podcast or show. By the end, you'll never think of good girls the same way again... Pip is about to head to college, but she is still haunted by the way her last investigation ended. She’s used to online death threats in the wake of her viral true-crime podcast, but she can’t help noticing an anonymous person who keeps asking her: Who will look for you when you’re the one who disappears? Soon the threats escalate and Pip realizes that someone is following her in real life. When she starts to find connections between her stalker and a local serial killer caught six years ago, she wonders if maybe the wrong man is behind bars. Police refuse to act, so Pip has only one choice: find the suspect herself—or be the next victim. As the deadly game plays out, Pip discovers that everything in her small town is coming full circle . . .and if she doesn’t find the answers, this time she will be the one who disappears. . . And don't miss Holly Jackson's next thriller, Five Surive!

Joseph Papp (1921-1991), theater producer, champion of human rights and of the First Amendment, founder of the New York Shakespeare Festival and Public Theater, changed the American cultural landscape. Born Yussel Papirofsky in Williamsburg, Brooklyn, he discovered Shakespeare in public school and first produced a show on an aircraft carrier during World War II. After a stint at the Actors’ Lab in Hollywood, he moved to New York, where he worked as a CBS stage manager during the golden age of television. He fought Parks Commissioner Robert Moses (as well as Mayors Wagner, Lindsay, Beame and Koch) winning first the right to stage free Shakespeare in New York’s Central Park, then municipal funding to keep it going. He built the Delacorte Theater and later rebuilt the former Astor Library on Lafayette Street, transforming it into the Public Theater. In addition to helping create an "American" style of Shakespeare, Papp pioneered colorblind casting and theater as a not-for-profit institution. He showcased playwrights David Rabe, Elizabeth Swados, Ntozake Shange, David Hare, Wallace Shawn, John Guare, and Vaclav Havel; directors Michael Bennett, Wilford Leach and James Lapine; actors Al Pacino, Colleen Dewhurst, George C. Scott, James Earl Jones, Meryl Streep, Kevin Kline, Sam Waterston, and Denzel Washington; and produced Hair, Sticks and Bones, for colored girls, The Normal Heart, and A Chorus Line, the longest running musical in Broadway history. "This first biography of the late Joseph Papp will be a hard act to follow." — Booklist "The final portrait that emerges might have been jointly painted by Goya, Whistler and Francis Bacon." — Benedict Nightingale, front-page New York Times Sunday Book Review Playwright Tony Kushner called Papp "one of the very few heroes this tawdry, timid business has produced" and the book, a "nourishing and juicy biography." "Helen Epstein recounts [Papp's] career in [this] definitive, meticulously researched and highly readable biography. [...] It is a tribute to Epstein’s narrative skill that the detailed account of Papp’s decline and eventual defeat by cancer [...] reads as both riveting and horrifying." — Ellen Schiff, All About Jewish Theatre Oklahoma-born Paul Davis created 51 iconic posters for Joseph Papp, starting in 1975 with the New York Shakespeare Festival production of "Hamlet" starring Sam Waterston. "It was inspiring to work with Joe," says Davis. "We would discuss what he wanted to achieve in a production, and he trusted me to find a way to express it. And he respected the poster as its own dramatic form." The artist’s work has been exhibited in the U.S., Europe and Japan. He is a recipient of a special Drama Desk award created for his theater art. Davis was elected to the Art Directors Club Hall of Fame and the Society of Illustrators Hall of Fame, and is a Fellow of the American Academy in Rome.

First Published in 1967. Routledge is an imprint of Taylor & Francis, an informa company.

Named a New York Times Best Book to Give The world’s greatest detective, Hercule Poirot—legendary star of Agatha Christie’s Murder on the Orient Express and Death on the Nile—returns to solve a delectably twisty mystery in this “masterful and multi-layered puzzle...adding a new dimension to a much-loved series” (NPR). “Yet again, the diminutive man with the little gray cells delivers the goods.” —Wall Street Journal Hercule Poirot is traveling by luxury passenger coach from London to the exclusive Kingfisher Hill estate. Richard Devonport has summoned the renowned detective to prove that his fiancée, Helen, is innocent of the murder of his brother, Frank. Poirot will have only days to investigate before Helen is hanged, but there is one strange condition attached: he must conceal his true reason for being there from the rest of the Devonport family. The coach is forced to stop when a distressed woman demands to get off, insisting that if she stays in her seat, she will be murdered. Although the rest of the journey passes without anyone being harmed, Poirot’s curiosity is aroused, and his fears are later confirmed when a body is discovered with a macabre note attached . . . Could this new murder and the peculiar incident on the coach be clues to solving the mystery of who killed Frank Devonport? And if Helen is innocent, can Poirot find the true culprit in time to save her from the gallows?

Welcome to the Drone Age. Where self-defense has become naked aggression. Where courage has become cowardice. Where black ops have become standard operating procedure. In this remarkable and often shocking book, Laurie Calhoun dissects the moral, psychological, and cultural impact of remote-control killing in the twenty-first century. Can a drone operator conducting a targeted killing be likened to a mafia hitman? What difference, if any, is there between the Trayvon Martin case and the drone killing of a teen in Yemen? We Kill Because We Can takes a scalpel to the dark heart of Western foreign policy in order to answer these and many other troubling questions.