Six Years Later

The bestselling author and creator of the hit Netflix drama The Stranger explores the dangers of obsession in this #1 New York Times bestselling masterpiece of modern suspense. Six years have passed since Jake Fisher watched Natalie, the love of his life, marry another man. Six years of hiding a broken heart by throwing himself into his career as a college professor. Six years of keeping his promise to leave Natalie alone, and six years of tortured dreams of her life with her new husband, Todd. But six years haven’t come close to extinguishing his feelings, and when Jake comes across Todd’s obituary, he can’t keep himself away from the funeral. There he gets the glimpse of Todd’s wife he’s hoping for...but she is not Natalie. As Jake searches for the truth, his picture-perfect memories of Natalie begin to unravel. Mutual friends of the couple either can’t be found, or don’t remember Jake. No one has seen Natalie in years. And soon, Jake’s search for the woman who broke his heart puts his very life at risk as he uncovers the secrets and lies that love can hide....

Oxford professor Joseph Giant doesnt believe in being politically correct when something is wrong. In Giants opinion, the outspoken Muslim community is threatening to take over every facet of British life. Regardless of political correctness, Giant sees it as a threat that church bells are no longer allowed on Sunday and that the day of rest has been moved to Fridayall to keep a small but powerful minority happy. Beth Rimmer is an attractive student activist who opposes Giants unpopular opinionsthat is, until they meet face-to-face. Giant makes a good point for his Muslim cultural concerns, and soon Rimmer is not only Giants advocate but his outspoken supporter. Her surprising change of heart soon gets her murdered, and so begins a conspiracy to discredit Giant and his fight for British freedom. As Great Britain is slowly transformed into what resembles a Muslim nation, the mystery of Rimmers death goes unsolved. Who is stacking the deck against Professor Giant and the British people? The directive appears to come from a power much greater than the Oxford activists are ready to fight. But will the country realize the accuracy of Giants claims in time to regain their rights and save Britain from cultural anarchy?

Meet two spy's with one messy history between them.Theres Abigail a confident and outspoken girl who needs one chance to prove herself.Will she get that ? And then theres Aidan a charismatic and charming guy who want to leave the country.But why? Mix in a Crown price, boarding school and them bickering and you get their storie.Tune in you don't want to miss it .

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. “Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'” —Lucy R. Lippard, Six Years In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard's celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book. The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard's own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices. With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard's curatorial experiment full circle.