Publisher: Julie Johnson
Size: 29.96 MB
Format: PDF, Mobi
Category : Fiction
Languages : en
Pages : 345
What’s more dangerous than a killer? For Detective Alex Cross, it’s a killer who thinks he’s the good guy... Shots ring out in suburban Washington D.C. in the early hours. When the smoke clears, a senior police official lies dead, leaving his force scrambling for answers. Under pressure from the mayor, Alex Cross steps up and takes command of the investigation – just as a brutal crime wave sweeps the region. There’s just one thing in common in these deadly scenes: the victims are criminals. As Cross pursues a murderer who’s appointed himself judge, jury and executioner, he must take the law back into his own hands – because although this killer has a conscience, the city Cross has sworn to protect is rapidly descending into chaos...
With three decades of ministry in San Diego, George McKinney presents us with illustrations of how God is blessing the inner City. "Cross the Line" shows how to effectively cross racial and social lines to minister and learn from people in the city.
Young women talk about what led them to cross the line, and how they both coped with, and learned from, their experiences. The collection also includes young women who have had friends or family in jail, and what it has meant for them. 2000.
How to make the most of your relationship with the Holy Spirit.
When Reporters Cross the Line tells the true story of moments when the worlds of media, propaganda, politics, espionage and crime collide, casting journalism into controversy. Its pages feature some of the best-known names in British broadcasting, including John Simpson, Lindsey Hilsum and Charles Wheeler. There are men and women who went beyond recognised journalistic conventions. Some disregarded the code of their craft in the name of public interest; some crossed the line in ways that had truly shocking consequences. Many of the details have been kept as closely guarded secrets - until now. This unique account of modern reporting examines the lengths to which journalists on the front line are prepared to go to get a story or to espouse a cause. Journalistic heroes and villains abound, but certain of those heroes were flawed, and some of the villains were surprisingly principled. In the heat of war and political conflict, boundaries are ignored and ethics forgotten - and not just by opposing armies. In this extraordinary book, Stewart Purvis and Jeff Hulbert offer unparalleled access to the minds of reporters and to the often disturbing decisions they make when faced with extreme situations. In doing so, it hammers home some unpalatable truths, posing the fundamental question: where do you draw the line?
Twenty high-profile footballers share their faith and reveal how it influences their lives, both on and off the pitch. The book offers a range of information and insights into strictly football matters, while also exploring the way these players have "crossed the line" into a relationship with Jesus, and showing how God is actively at work in professional football today.
As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires. Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists' restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.” Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.