Bøger udgivet af A.M. McPherson

Villains aren't the only ones good at keeping secrets. Months ago, Black Mold and his gang of villains attacked the city of Stalwarth, leaving mass destruction in their wake. Little did Ember and Aiden know it was just the beginning of the villains' plans. Ember is determined to uncover the truth about her parents' murders. But as she unearths secret after secret, Ember wonders who she can trust. Are the Guardians truly selfless heroes, or are they just as conniving as the villains they fight?Meanwhile, Aiden's dream of becoming a Guardian is turning into a nightmare. His power grows alongside his anger. Is he cracking under the pressure, or is something more nefarious at play? Ember and Aiden promised each other nothing would tear them apart as they try to solve the secrets surrounding them. But to keep that promise, they'll have to risk the lives of those they love the most.

"What begins as tragedy trips into farce, the realistic somehow turns mystical, and viewed through a prism of irony these delightfully off kilter stories offer surprising, often skewed and witfully unsettling impressions. Don't Mind Me is a collection that follows no rules and leaves no tracks"--

"That mouthy and seemingly unkillable FBI agent, code name: Mr. Either/Or, is back for more poetry and adventures! First, as a hurricane descends on New York City, he must negotiate the moods of his girlfriend Li-ling Levine while fighting to thwart militant anarchist Stavros Canard's plan to reduce humanity to chaos and violence. Will our hero fall prey to Canard's homicidal henchwoman, Aquila Blair? Will he survive learning that his girlfriend is pregnant? Barely, perhaps, because in his second adventure, retired from the Bureau and a stay-at-home husband and dad, he is sucked back in to protect a man known only as Elijah, a prophet filled with arcane Chinese wisdom about the end of the human race. As, one by one, the seven omens signaling the apocalypse come true, will our hero be able to stop the eschatological aspirations of the mad militia-leader Malachi McCann? Will he be able to sleep-train his infant daughter Savannah before Armageddon? What should you expect, reader? Imagine the bastard child of the poet Homer and Danielle Steel, imagine the rightful heir of Sappho and Lord Byron, think Hamlet in Manhattan with a license to kill"--

"It is hard for any of us to separate what is imagined from what is real. We are all story-tellers of our own lives, narrating what we observe, making sense of it all. What happens around us is equally complicated for, as the writer, Anaèis Nin put it, "we don't see the world as it is, as we see it as we are." In that liminal space between what is and what we think it is, we write history: our own and that of others. That word, history, has its origins in the Greek term, historia, which implies a dynamic process of finding out, of inquiry, rather than the passivity of recording. This collection then, is a similar endeavor. It is a writer's attempt to train her eye on what is unfolding around her, as well as herself, all of it viewed through a kaleidoscope constructed of four mirrors: place, culture, politics, and a self that shares its borders with all three. Words are the glass beads inside. Twist the instrument and the world rearranges itself. Bon Courage is a fierce, moving, eclectic and intimate collection-wide ranging and inclusive in the essay mode, deep and revealing as a memoir, with the dynamics and layering of great fiction. As if that's not enough, it sings. Ru Freeman is able to participate intimately while bringing global perspectives to subjects as diverse as Bowie and Dylan, Palestine, 9/11, hairstyles, personal and cultural identity, and #Me too. This is a resplendent and compendious exploration of great empathy, insight, and bon courage indeed. It's going to make a great book. It's going to make a difference"--

"The Medea Notebooks by Ann Pedone: The Medea Notebooks opens up the ancient Greek story of Medea and Jason of the Argonauts by imagining three "Medeas": a re-working of the Medea character from the Euripides play, the writer of The Medea Notebooks herself, as well as the 20th century opera singer Maria Callas who played Medea both on stage, and in Pier Paolo Pasolini's 1969 film version of the myth. By weaving together three stories of marriage and murder, sex, and infidelity, the book seeks to explore and complicate our understanding of love, female sexual desire, and betrayal. Starfish Wash-up by Katherine Soniat: The writing of this ekphrastic collection began with the discovery of a 19th-century watercolor portrait of Telemachus kneeling by the Aegean seashore, back to his audience. Along with him, the reader searches the horizon for the Father (Odysseus) always it seems "off to another war" ...Telemachus thus becomes an archetypal symbol for the Lost Son, who really has no parental guidance (many times due to war). What remains across history is the many youth who in fact are still children of a missing parent. This focus repeats and circles into Modernity in this collection by also addressing the wreckage of our planet in current times due to Humankind's neglect-our own planet that offered us our first home. Life itself now in a tailspin in so many ecological ways. Overflow of an Unknown Self: A Song of Songs by D. M. Spitzer: The erotic theme and imagery, along with its apparent secular tone, distinguish the Song of Songs (also known as the Song of Solomon) from the other books of the Bible. But whose love, which lovers, does the Song celebrate? Traditionally, the Song narrates the relationship(s) of heterosexual lovers, even as interpretations have offered other, allegorical configurations that depart from the heterosexual rubric. Translated primarily from the Song of Songs included in the ancient Jewish Hebrew-to-Greek translation project called the Septuagint, D. M. Spitzer's overflow of an unknown self: a song of songs opens the ancient poem to and for the trans- moment. By way of a queering translation practice that replaces the text's hetero-gendered pronouns with the intimacy of direct address and its I-you paradigm, overflow of an unknown self attempts to widen the Song's full-throated praise of embodied, human loving. Arrayed in eight "Cantos" that point back to the Septuagint's presentation of the Song of Songs, each section of overflow of an unknown self trans-figures the poem, diversifying the reverberant possibilities arising from a text always-already in translation. Hopefully this translation creates a zone where more numerous arrangements of loving bodies can imagine themselves in the Song's celebration. overflow of an unknown self works to fray and break the circle of heteronormativity towards an ever-expanding horizon of sexualities radiant with the bright, multicolored lights and possibilities of inclusion, of diversity, of love"--

"Black Metamorphosis pierces a 2000+ year-old veil inspired by a range of Ovidian myths while resisting a direct conversion of the work. This collection explores the Black psyche, body, soul, through inversion and brazen confrontation of work that has shaped Western civilization. In a poetic range of forms, voices, and rhythms, the reader is bathed in ancestral memory, myth, and sense of the timeless of the shapeshifting, resilient Black body"--

Variations in the Key of K: Stories, concerning the inner lives and passions of artists, and the distortions of history, framed through the lens of biography.

Using the stage and the bedroom, Renée E. D'Aoust interweaves dance history with the stories of contemporary dancers' muscle and