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The Heights
When Detective Liz Boyle receives an urgent phone call from her lieutenant on her day off, she knows the news won’t be good. She and her partner, Tom Goran, arrive at the new crime scene, which is in a cemetery located on the Cleveland/Cleveland Heights border, and discover that someone has brutally beaten a locally famous defense attorney to death. As the investigation takes them deeper into the city’s—and the police department’s—seedy underbelly, the case begins to throw the blue wall of silence into question. Liz has a strong desire to do the right thing, but she also must pick her way around the department bureaucracy to avoid being thought a rat, an accusation that could end her career. Liz’s dance through the gritty city threatens to finish her and her crew, including Tom and Lieutenant Fishner. Once again, Detective Liz Boyle is plunged into a case that will test her personal and professional allegiances.
The Flats
Detective Liz Boyle knows there is no crime more heinous than the murder of a child. When she and her partner, Tom Goran, are called to a new scene in an area of Cleveland known as The Flats, they find that a killer has taken that to new levels. As the investigation takes them deeper into the city’s seedy underbelly, the case hits frighteningly close to home when someone Liz loves is added to the list of possible suspects. While fighting her personal demons, she must also pick her way around the department bureaucracy to avoid being pulled from the case. Liz and Tom will need to solve the most mind-bending mystery of their careers, one in which their personal and professional allegiances—and maybe their sanity—will be tested. But Liz vows to bring the killer to justice at any cost.
Writing Posthumanism, Posthuman Writing
Writing Posthumanism, Posthuman Writing is designed to spark conversation. It is intended to highlight the growing importance of posthumanist approaches to writing studies, and, in doing so, works to solidify the importance of such work to the future of writing studies. Its organizational structure, length, and approach serve this agenda, working as much to encourage a growing conversation as it does to provide substantial, original work from which such conversations might emerge. The thirteen original essays that comprise Writing Posthumanism, Posthuman Writing are organized to provide a progression from articles that introduce theoretical concepts regarding the intersections of posthumanism and writing to works that examine specific contexts as vehicles for developing posthumanist theories.
Games We Played
When actress Rachel Goldberg shares her personal views on a local radio show, she becomes a target for online harassment. Things go too far when someone paints a swastika on her front door, not only terrifying her but also dredging up some painful childhood memories. Rachel escapes to her hometown of Carlsbad. To avoid upsetting her parents, she tells them she’s there to visit her Orthodox Jewish grandmother, even though that’s the last thing she wants to do. But trouble may have followed her. Stephen Drescher is home from Iraq, but his dishonorable discharge contaminates his transition back to civilian life. His old skinhead friends, the ones who urged him to enlist so he could learn to make better bombs, have disappeared, and he can’t even afford to adopt a dog. Thinking to reconnect with his childhood friend, he googles Rachel’s name and is stunned to see the comments on her Facebook page. He summons the courage to contact her. Rachel and Stephen, who have vastly different feelings about the games they played and what might come of their reunion, must come to terms with their pasts before they can work toward their futures.
If She Had Stayed
Kaley Kline is thrilled to have landed a job as director of the new Tesla Museum in Colorado Springs. To make the museum successful, she searches for undiscovered works to display. When she finds an old safe that might have been Tesla’s, she’s shocked to find some diary pages supposedly written by the inventor himself. Kaley initially thinks that either the journal is a fraud, or Tesla was experiencing a nervous breakdown when he wrote it. However, if his experiments were real, the world will never be the same. She decides to secretly build Tesla’s time machine and attempt to go back into her own life to change a decision she has always regretted. She prepares for a trip to the past, not knowing whether she will electrocute herself or travel back to the Boulder of her sophomore year in college. But an old boyfriend might have hidden some secrets from her—secrets that could have her fighting for her life.
The Winter of Our Distemper
After their recent adventures in Florida, Gabriel, Sheila, and Orson are due for a vacation. But their dreams of beaches are interrupted by an urgent cry for help. Sheila’s aunt, the witch who first taught her magic, has hidden herself away in snowy Maine. Now she’s being targeted by a radical environmental group that’s demanding her help… or else. They’ve mastered an ancient native magic and are going to use it to destroy anyone who gets in their way. And they have a nasty habit of controlling animals… including Orson. It will take all of Sheila’s magic and Gabriel’s skills to stop them, and it just might tear them apart before they’re through. But if they fail, it could be the darkest night of all.
The Political Lives of Victorian Animals
Examines how liberal thought influenced representations of animals within nineteenth-century animal welfare discourse and the Victorian novel.
Reading and Writing Experimental Texts
This collection of essays offers twelve innovative approaches to contemporary literary criticism. The contributors, women scholars who range from undergraduate students to contingent faculty to endowed chairs, stage a critical dialogue that raises vital questions about the aims and forms of criticism— its discourses and politics, as well as the personal, institutional, and economic conditions of its production. Offering compelling feminist and queer readings of avant-garde twentieth- and twenty-first-century texts, the essays included here are playful, performative, and theoretically savvy. Written for students, scholars, and professors in literature and creative writing, Reading and Writing Experimental Texts provides examples for doing literary scholarship in innovative ways. These provocative readings invite conversation and community, reminding us that if the stakes of critical innovation are high, so are the pleasures.
