Open Grave

In his gripping and provocative debut, anthropologist Jason De León sheds light on one of the most pressing political issues of our time—the human consequences of US immigration policy. The Land of Open Graves reveals the suffering and deaths that occur daily in the Sonoran Desert of Arizona as thousands of undocumented migrants attempt to cross the border from Mexico into the United States. Drawing on the four major fields of anthropology, De León uses an innovative combination of ethnography, archaeology, linguistics, and forensic science to produce a scathing critique of “Prevention through Deterrence,” the federal border enforcement policy that encourages migrants to cross in areas characterized by extreme environmental conditions and high risk of death. For two decades, this policy has failed to deter border crossers while successfully turning the rugged terrain of southern Arizona into a killing field. In harrowing detail, De León chronicles the journeys of people who have made dozens of attempts to cross the border and uncovers the stories of the objects and bodies left behind in the desert. The Land of Open Graves will spark debate and controversy.

Kjell Eriksson has made a huge splash around the globe with his series set in his native Sweden. Already a star in Europe and the Nordic countries, Kjell Eriksson has American critics raving. In Open Grave in the Ann Lindell series, Professor Bertram von Ohler has been awarded the Nobel Prize for medicine. This news causes problems in his otherwise quiet upper-class neighborhood. Not everybody is happy with the choice of winner. Mysterious incidents start to occur. Boyish pranks say the police, but what follows is certainly not innocent amusement. Police inspector Ann Lindell becomes involved in the case and immediately is transported back into her own past. Eriksson has been nominated for the Best Swedish Crime Novel five times.Open Grave, the sixth book in his critically acclaimed and internationally loved series, is a chilling novel about renunciation and revenge.

Provides information on the origins, tactics, myths, and lairs of a variety of undead creatures and threats encountered in the game of Dungeons and Dragons.

In an age when the so-called prosperity gospel holds sway in many Christian communities or the good news of Christ is reduced to feel-good bromides, it would seem that death has little place in contemporary preaching. Embracing the vision of the valley of dry bones in Ezekiel 37 as a metaphor for preaching in the Spirit, acclaimed homiletician Luke Powery asserts that death is the context for all preaching. In fact, the Spirit leads preachers to the context of death each Sunday in order to proclaim a word of life that ultimately breathes hope into people's lives. Yet many preachers avoid death because they are at a loss of what to say about it and do not realize its vital connection to the substance of Christian hope. As a result the church is too often left with sermons that are fundamentally devoid of hope. Dem Dry Bones aims to remedy some of the theological and homiletical shortcomings in contemporary preaching by looking closely at the African American spirituals tradition. Through this study, Powery demonstrates how to preach in the Spirit so that proclaiming death becomes an avenue toward hope. In short: no death, no hope.

Television in Canada has been undervalued as a cultural form. Despite being publicly funded, Canadian television programs are also notoriously difficult to access once they go off the air, which has compounded the problem. In What Television Remembers Jennifer VanderBurgh intervenes in the story of the medium in Canada by exploring the long relationship between TV and the city of Toronto. From the first demonstration of television at the Canadian National Exhibition in 1939 and the mass viewing of Queen Elizabeth II’s coronation broadcast in 1953 to the late-century installation of TV screens in public spaces around the city, television has shaped Toronto’s collective imagination and affirmed viewers in their multiple identities as local residents, national citizens, and transnational consumers. In a close reading of Toronto-based CBC dramas from the 1960s to 2010, VanderBurgh explains how the city has functioned as a strategic location in CBC programming, reflecting dramatically changing ideas about Canadian identity, community, and citizenship. At a time when many are suggesting that the era of television is over, What Television Remembers sounds the alarm that we are in danger of forgetting TV in Canada without appreciating the complexities of its contributions and legacy.

Abandoned in a department store as a baby, thirteen-year-old Tom Mullen has been shuffled from one rotten foster home to another his entire life. When he hears rumors that a mass grave has been unearthed on his school grounds, he finds himself inexplicably drawn to it. The grave pulls Tom down into its terrible darkness and beyond, where he discovers that he is no longer in Liverpool in 1974 but in Ireland in 1847, at the height of the potato famine. A family named Monaghan takes him in, and for the first time Tom experiences what it is like to have parents and siblings who care for one another. But why has Tom been transported through time and space? And why must the grave keep yanking him back to his dreary lonely existence in Liverpool? Most of all, what does it mean that the Monaghan's son, Tully, is practically Tom's double?