We thought it was the end when we took down the experimentation of our kind.....come to find out, humans were not the only ones we had to fear. It was our own kind New enemies, new friendships, new chaos, can we escape the danger? Can we protect the babies? Or all we all going to die?

"Run Amanda Run " What? Who is that? The voice is so familiar, yet I cannot think of who it is. "Don't stop Amanda Do not turn around whatever you do; don't turn around even though what you may hear " Okay I thought, I'm not exactly sure who you are at this point in time, but I've learned to trust my gut feeling, and it's telling me to run like hell right now. Where am I? Its pitch black dark, I'm running barefoot on a black road. Where do I go? Who, or what, am I running from? This doesn't make any sense, I have to be sleeping, as I run I stub my toe on a rock and come to the conclusion it's not a dream. Where do I go? Ashley's Maybe I can make it there if I figure out where I am. Wait, am I out of my mind I go to Ashley's I put her in danger as well. That painful, horrid, twisting gut feeling is progressing more and more, I start to run faster as I hear a most disturbing, deep, sinful, evil voice I have ever heard. "Get back here girl " As I start turning my head I hear the woman again, "No Amanda, don't turn aro-." Wham Next thing I know, I'm lying on the ground my head throbbing. I feel like I just ran into a damn brick building and broke all the bones in my body. I feel like hell just ran me over. I gathered my vision and leaned up realizing I should still be running. But as I looked up, I saw the most petrifying, sinister, most blood curling, bone eating monster, which made me regret my previous thought of hell. Going about your life thinking that you're an ordinary person, living a regular life then all of a sudden BAM You find out people want to murder you Having no clue why they want you dead, or who they even are. Then finding out your not exactly human. What would you do if you found out you were some sort of Alien, assassins are after you, there is a prophecy in which you have no escape from, and all you have ever known was just a lie. My name is Amanda and this is my new world. One day just living my regular life with my best friend Ashley and brother Luke, then the next, we have to kill before being killed. Try and figure out my visions and how to change them before we all end up dead. I can't go back, and the only way forward is through blood, hurt, and visions of fear. Friendships are tested, limits crumble and fighting a fight we have no idea how to fight, let alone win.

Claire literally had it all Life was perfect in her world The auburn-haired beauty had the perfect family; a successful career; and a handsome, devoted and loving husband. She was sure that nothing could rock her boat and interrupt her picture-perfect world. With their kids away at college, Claire and Daniel had their whole future in front of them. They were eager to begin slowing down and enjoying the second half of their life together, enjoying all the plans they'd made for themselves. Blissfully and safely ensconced in their 'happily ever ever, ' the college sweethearts were sure they'd be together and in love forever. But, life dealt the couple a cruel and surprising blow when they learned that none of us is guaranteed a promise of 'tomorrow.' Lost without the love of her life, and barely able to put one foot in front of the other, Claire certainly has no desire to ever love again. Lost and lonely, Claire must learn to somehow cope in her new life without Daniel. Her journey takes her from her family home on Florida's coast to the mountains of Virginia. As she painfully moves on, Claire continues to find ways in which Daniel has planned and provided for her life without him. But, her biggest surprise comes when she learns that Daniel has even 'delivered' on his promise of 'forever.' Claire's story is proof that 'forever love' really does exist and that love lives on in all of us

.Dr. Davis's "Improving the Reading Skills of Third-Grade Students" is a study of schools in the state of Illinois and the instruction and enviornmental elements involved in state test scores. After teaching for 20 years and while working as a school principal for seven years, she completed her doctorate degree in Education. Dr. Davis designed this book to be a teaching tool. It will appeal to readers looking for different ways to teach reading to school children to improve reading scores across america.

When Igor Stravinsky's ballet Le Sacre du printemps (The Rite of Spring) premiered during the 1913 Paris season of Sergei Diaghilev's Ballets Russes, its avant-garde music and jarring choreography scandalized audiences. Today it is considered one of the most influential musical works of the twentieth century. In this volume, the ballet finally receives the full critical attention it deserves, as distinguished music and dance scholars discuss the meaning of the work and its far-reaching influence on world music, performance, and culture. Essays explore four key facets of the ballet: its choreography and movement; the cultural and historical contexts of its performance and reception in France; its structure and use of innovative rhythmic and tonal features; and the reception of the work in Russian music history and theory.  

"Mary E. Davis's "Classic Chic: Music, Fashion, and Modernism" is a fascinating study that draws together several strands of international modernism in the first quarter of the twentieth century. Focusing on trendsetting couturiers and magazines, she reveals how fashion not only promoted modernist trends in music but also identified those trends with a 'modern' upper-class lifestyle as well as similar trends in the visual arts and ballet. Davis has written a page-turner that talks about serious matters and adds to the sum of our knowledge about early twentieth-century musical culture."--Lynn Garafola, author of "Diaghilev's Ballets Russes "and "Legacies of Twentieth-Century Dance"
"In "Classic Chic: Music, Fashion, and Modernism," Mary Davis examines the deep connections between music and other cultural phenomena - especially fashion - in early 20th-century France. She returns the music of Satie and Stravinsky to its native Parisian habitat, which swarmed with fashion designers, trend-setting collaborators, and the purveyors of taste who determined what at any moment counted as 'chic.' (How dreadfully un-German!) "Classic Chic" joins a very small number of books that both break new scholarly ground and also appeal to general readers: in particular, those willing to listen to "Gymnopedies" while flipping through the pages of "Vanity Fair,""--Susan McClary, author of "Conventional Wisdom: The Content of Musical Form"
""Classic Chic" is an original and fascinating exploration of the surprising alliance of music and fashion in the early twentieth century. Mary Davis has made an important contribution to our understanding of modernism through a subtle analysis of supposedly'frivolous and ephemeral' art forms."--Valerie Steele, Director and Chief Curator, The Museum at Fashion Institute of Technology

In the decades between its debut performance in Paris in 1909 and the death of impresario Sergei Diaghilev in 1929, the Ballets Russes was an unrivalled sensation not only in France but in London, New York and the other cities it toured. Attention has often been centred on the links between Diaghilev's troupe and modernist art and music, but there has been surprisingly little written concerning the Ballets' role in tastemaking and trendsetting. Ballets Russes Style reveals for the first time the full extent of the ensemble's influence on haute couture. The Ballets Russes' seasons were an exciting laboratory for ambitious cultural experiments, often grounded in the aesthetic confrontation of those great designers, artists and composers who travelled with the troupe from St Petersburg - Leon Bakst, Alexandre Benois and Igor Stravinsky among them - and Paris's avant-garde, which included Picasso, Satie, Matisse, Debussy and Ravel. The ensemble brought the stage and everyday life into creative contact with each other, most noticeably in the world of fashion. In its heyday, the Ballets Russes was a potent force in defining Paris Style, bringing the work of great designers such as Jeanne Paquin and Coco Chanel to the stage, and creating sensibilities that resonated in the collections of couturiers from Paul Poiret to Yves Saint Laurent and beyond. Beautifully illustrated and drawing on unpublished images and memorabilia, this book illuminates the ways in which innovations by the Ballets Russes in dance, music, sets and costume both mirrored and invigorated contemporary culture.