The Warhol Incident Alexis Parker Book 2

G.K. Parks brings you the next chapter in heroine, Alexis Parker's life. This time the plot moves to Paris as Alex is forced to confront ghosts from her past. Don't miss this thrilling novel. A year ago, Alexis Parker turned her back on everything she knew. Walking away from the Office of International Operations proved to be both the easiest and hardest thing she had ever done. However, her newfound life in the private sector is turning out to be anything but the cushy desk job she imagined. Now ghosts from her past have come to haunt her. Running into a former acquaintance while retrieving a painting in Paris sends Alex spiraling back to the life she hoped to leave behind. Buried traumas from her last mission at the OIO are unearthed when similarities force the present to collide with the past. Those she believed to be friends quickly become enemies, and enemies soon become allies. It's a minefield of uncertainty that can have deadly consequences if she places her trust in the wrong person. Meanwhile, the dynamic is shifting between her and James Martin, the man she had once been hired to protect. The two are standing on an emotional precipice, teetering on the edge of will they or won't they. It will all reach a crescendo as blood is spilled and sacrifices are made. Survival isn't always a guarantee, but merely a whimsical dalliance.

Leaving the Office of International Operations seemed like a great way to avoid bureaucratic hassles, red-tape, and murderous psychopaths. Unfortunately, things don't always work out the way they should. Meet Alexis Parker, former OIO operative, currently trying to make a name for herself in the private sector. With a limited job history, the state of the economy, and her own internal struggle concerning her competence as an investigator, Alex is forced to take the only job she is offered. Enter eccentric, playboy, CEO James Martin. Martin Technologies is a multi-million dollar corporation that James Martin has nurtured from the ground up with his workaholic tendencies. But now that Mr. Martin's life is being threatened, what's a guy to do besides hire an attractive, feisty, former federal agent to be his new security consultant and personal bodyguard. As Alex attempts to navigate the minefield of potential suspects, she gradually begins to uncover an underlying conspiracy that has been brewing at Martin Technologies for almost half a decade. Anyone could be involved, making all of Martin's closest friends, acquaintances, and employees possible suspects. What starts out as a single death threat quickly morphs into a plot to overtake his entire company. Once the pieces start to fall into place, things begin to explode, both literally and figuratively for Alex, as the physical danger looms ever more menacingly overhead. This outwardly simple case quickly becomes something neither Alex nor Martin ever imagined as the situation continues to escalate rapidly out of control. It will take all of Alex's training and instincts to be able to track down the criminal mastermind and stop the assassination plot before it's too late. Likely Suspects is a witty page-turner, containing sharp dialogue, three-dimensional characters, and nonstop action that will keep readers intrigued until the very end.

Brains, beauty, and a past plagued with death and destruction, Alexis Parker is anything but ordinary. Her deductive skills and expert marksmanship make her deadly, but she must contend with her demons in order to overcome the irreparable damage she

This anthology of Solnits essential essays from the past ten years takes the reader from the Pyrenees to the U.S.-Mexican border, from open sky to the deepest mines and offers a panoramic world view enriched by the authors characteristically provocative, inspiring, and hopeful observations.

This book, the first full critical overview of the film avant-garde, ushers in a new approach—and in the process creates its own subject. While many books have studied particular aspects of the European film avant-garde of the 1920s and 1930s, Moving Forward, Looking Back provides a much-needed summary of the theory and practice of the movement, while also emphasizing aspects of the period that have been overlooked. Arguing that a European perspective is the only way to understand the transnational movement, the book also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of film culture as visible in screening clubs, film festivals, and archives. It will be essential to anyone interested in the influential movement and the film culture it created.

The second volume of writings by Los Angeles artist Mike Kelley, focusing on his own work. What John C. Welchman calls the "blazing network of focused conflations" from which Mike Kelley's styles are generated is on display in all its diversity in this second volume of the artist's writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley's own work, ranging from texts in "voices" that grew out of scripts for performance pieces to expository critical and autobiographical writings.Minor Histories organizes Kelley's writings into five sections. "Statements" consists of twenty pieces produced between 1984 and 2002 (most of which were written to accompany exhibitions), including "Ajax," which draws on Homer, Colgate- Palmolive, and Longinus to present its eponymous hero; "Some Aesthetic High Points," an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of "creative writings" that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visual styles that characterize Kelley's artwork. "Video Statements and Proposals" are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" offers writings that accompany or are part of artworks and installations. This section includes "A Stopgap Measure," Kelley's zestful millennial essay in social satire, and "Meet John Doe," a collage of appropriated texts. "Architecture" features an discussion of Kelley's Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. Finally, "Ufology" considers the aesthetics and sexuality of space as manifested by UFO sightings and abduction scenarios.

In a single moment, Alexis Parker is transformed from private investigator to cold-blooded killer. With a bullet lodged in her side and a corrupt cop determined to silence her, she's forced to do the one thing she never imagined - she must run. But running only makes her look guiltier. When she signed on to safeguard her client's nightclub from thieves, she never thought that twelve hours later she would be wanted for murder. Wounded and scared, she has to use all of her resources to evade capture. She even allies herself with criminals - the types of people she spent years arresting. But that was a lifetime ago, when she was a federal agent and everything was much more black and white. Now, she'll take all the help she can get, regardless of where it comes from. Alexis is almost out of time and leads. No one can corroborate her story, and the only proof of her innocence is the bullet she carved out of her flesh. As the infection worsens, she considers giving up because if the police don't kill her, the fever will. Fortuitously, she encounters a man who promises to make her problems go away. He has evidence that can exonerate her, except it comes at price. Helping him could cost her everything, but reluctantly, she agrees. However, he takes advantage of her desperation, and the bodies soon pile up. When she attempts to defy him, he threatens her lover. Now she'll do anything to get her old life back. With no where else to turn, she seeks assistance from her former colleagues, and they devise a plan for her salvation - become bait. If it works, life will return to normal, and if it doesn't, police corruption will be the least of her worries.

"What corporations fear most are consumers who ask questions. Naomi Klein offers us the arguments with which to take on the superbrands." Billy Bragg from the bookjacket.