In No Good Deed: Book One in the Mark Taylor Series, Mark Taylor discovers first hand that no good deed goes unpunished when the old camera he found during a freelance job in an Afghanistan bazaar gives him more than great photos. It triggers dreams of disasters. Tragedies that happen exactly as he envisions them. He learns that not only can he see the future, he can change it. In Deeds of Mercy: Book Three, an unexpected visitor from Mark's past brings him unwanted attention from the authorities. Unable to decide who is friend and who is foe, Mark becomes a fugitive from the law, but with thousands of lives at stake, he is forced to put aside his fear of capture, and instead, seek help from his pursuers.

The story of Mark Taylor begins with "No Good Deed: Book One in the Mark Taylor Series." Mark's journey continues as he travels a dark road in March Into Hell: Book Two in the Mark Taylor Series. Mark Taylor discovers first hand that no good deed goes unpunished when the old camera he found in an Afghanistan bazaar gives him more than great photos. It triggers dreams of disasters. Tragedies that happen exactly as he envisions them. He learns that not only can he see the future, he can change it. Mark Taylor discovers first hand that no good deed goes unpunished when the old camera he found in an Afghanistan bazaar gives him more than great photos. It triggers dreams of disasters. Tragedies that happen exactly as he envisions them. He learns that not only can he see the future, he can change it. His life takes a dark turn when his heroism becomes the subject of a newspaper article. The media attention and a harrowing encounter while saving a young woman, puts him in the sights of the ruthless cult leader who covets the secret to Mark's power. Uncomfortable in the public spotlight, Mark suspects he's being tested by the force behind the camera's prophetic magic. Battling his own self-doubt, he must maintain the secret or risk certain death.

Though architecture is clearly not the sole focus of Dan Graham's work, it is one of his themes of predilection, as much in his photography as in his photography as in his installations and writings. How does Dan Graham use architectural ideas and functions, and in return, how can architectural thinking react to his accusations and justifications? This volume attempts to understand and evaluate his work from the perspective of modern and contemporary architecture, the necessary meeting-point for the basic questions he develops: urbanism, public/private space, socio-political life, ideological critique, the role of language in the visual-kinetic perception of the building (with ideas from the Russian formalists, Bakhtin, Mevdev, Shlovsky), or the effects on the constitution and transformation of the ego since the appearance of glass as a construction material. This approach promises to shed a clearer light on questions that belong not only to the separate fields of art and architecture.