Sixteen-year-old Kate Mansfield and her blind brother Neil live in a manor on the edge of the Brent Prior moors. It is a dreary place populated by the dispirited and the disillusioned, where the young nurture desperate dreams of escape. And Kate is no different. But her plans to run away to the city are crushed one very ordinary morning when the quiet in Brent Prior is shattered by an inexplicable act of violence.
In the wake of the tragedy, Kate's beloved father is stricken by a strange illness, and she and her brother fall under the care of the manor's caretaker and maid.
Then, as if attuned to the melancholy that has stricken Mansfield House, a fog rolls in. Villagers begin to vanish. Lithe fleeting shadows are glimpsed in the mist, and a disfigured man arrives in Brent Prior.
A man who has come back to settle an old score.
A man who calls himself the Master of the Moors.

"The Nuclear Weapons World: Who, How, and Where" is a unique guide to nuclear weapons decisionmaking and decisionmakers in the five official nuclear weapons states and the two nuclear alliances. No other book describes in such detail the complex structures in which decisions to produce and deploy nuclear weapons are made, and lists alphabetically with full biographies the names of the 750 people who make decisions about nuclear weapons production and deployment. Case studies on nuclear weapons procurement and deployment decisions make this book informative and necessary reading for both specialists in the field and generalists seeking up-to-date information on this important subject.

"The Nuclear Weapons World: Who, How, and Where" is a unique guide to nuclear weapons decisionmaking and decisionmakers in the five official nuclear weapons states and two nuclear alliances: the USA, the Soviet Union, Britain, France, China, NATO, and the Warsaw Pact. No other book describes in detail the complex structures in which decisions to produce and deploy nuclear weapons are made and also provides the names of the key decisionmakers. Divided into seven chapters, one for each of the official nuclear weapons states and the nuclear alliances, The Nuclear Weapons World also lists alphabetically with full biographies the names of the 750 people--scientists, armed forces members, top industrialists, permanent government officials, and politicians--who make the decisions about nuclear weapons production and deployment. Addresses and, where available, telephone numbers for entries are presented along with a full description of the decisionmaking structures: councils, committees, departments and institutes; organizational charts; descriptions of structures and biographies cross-referenced; complete name and subject indices; and a full glossary.

An omnibus collection of four novellas by Bram Stoker Award-winning author Kealan Patrick Burke (Kin, The Turtle Boy). Featured in this book are: THE TENT The perfect getaway... The perfect place to hide... Hocking Hills, Ohio is an oasis for campers, hikers, nature enthusiasts, and for those who just want to get away and lose themselves in the wild. And as long as you follow your guide's advice and stay within the permitted areas, you can expect to survive the night. Because deep within the dark woods, something insidious awaits, something few have ever seen, something ancient, unknowable, and insatiable. If you go down to these woods today, you won't live to see the sunrise... YOU IN? For years the Wickerwood Inn has stood abandoned, home to nothing but dust and the trapped echo of past celebrations...and tragedy. For a down on his luck ex-gambler, the inn's reputation is a thing of myth, and certainly not reason enough to turn down the first paying job to come his way in months. The inn will soon be renovated in preparation for a new lease on life. So tonight, from midnight till six, Peter Haskins will watch over the machinery. And he will soon discover that there is something else in the hotel with him, something that needs no new lease on life, for it has never died. And never will. SELDOM SEEN IN AUGUST Wade Crawford is not a good guy. He's a bank robber and a ruthless killer, and now three people are dead and Wade is on the run. With the cops hot on his heels, he breaks into a seemingly ordinary house in a seemingly ordinary neighborhood to hide and wait on word from his partner. But this neighborhood is far from ordinary. Indeed it has a very specific purpose, and soon Wade will discover that life in prison would be preferable to the hellish torment Seldom Seen has in store for him. MIDLISTERS Meet Jason Tennant, a writer of violent horror novels whose career is mired firmly in a maddening swamp of frustration somewhere north of nowhere and south of success. He is a midlister, those thankless souls who labor in the shadows of sometimes better, sometimes luckier writers, and it's starting to take its toll. Meet Kent Gray, wildly popular author of a string of so-called "sex-fi" novels. He's wealthy, handsome, and the object of Jason Tennant's professional jealousy. Welcome to Baltimore, Maryland, and the Aurora Science Fiction & Horror Convention, where these two men, midlister and bestseller, will meet for the first time, and the midlister motto "Better Read Than Dead" will be put to the ultimate test.

Welcome to Eddie's Tavern, the only functioning waterhole in a near-dead town. Among the people you'll meet tonight are: Tom, Milestone's haunted lawman, who walks in the shadow of death; Gracie, the barmaid, a wannabe actress, doomed to spend her hours tending bar in a purgatory of her father's making; Flo, the town seductress, who may or may not have murdered her husband; Cobb, a nudist awaiting an apology from the commune who cast him out; Wintry, the mute giant, whose story is told only in cryptic messages scribbled beneath newspaper headlines; Kyle, the kid, who keeps a loaded gun beneath the table; and Cadaver, who looks like a corpse, but smells real nice, and occupies his time counting stacks of pennies.
And then there's Reverend Hill, who will be in at eleven, regular as clockwork, to tell them who's going to die, and who's going to drive.
Welcome to Eddie's, where tonight, for the first time in three years, nothing will go according to plan...and Hell will come to Milestone.

The lonesome sound of a long forgotten train draws an old man to memories of a horrific past... A journalist makes the mistake of visiting a website where real-life executions are the order of the day... At the foot of an old tree, an insidious evil awaits two boys digging for treasure... A browbeaten salesman finds hope and a possible escape from the banality of his world when he returns home to find a fairytale beanstalk sprouting from his garden... A man resists the social pressure to quit smoking and puts himself at an unimaginable risk... A high school student accepts a dare to ask out a disfigured girl and enters a world of pain and violence... A comedian finds himself faced with a most peculiar and deadly audience...The pariah of a village accepts an offer of peace at his mother's funeral, but the olive branch may have hidden thorns...A bunch of barflies doomed to murder sinners get together for one last drink in a dying town...
These are just some of the passengers, headed for a ride through the dark uncharted regions of the heart and mind...on The Number 121 to Pennsylvania.
"In 14 dark fantasies collected here, Burke creates characters whose angst opens them up to uncanny incidents and ghostly encounters that seem an extension of their own spiritual malaise... Burke shows skill at imagining expressive supernatural experiences appropriate for his well-developed characters and their agitated emotions." - PUBLISHERS WEEKLY
"Don't read it late at night." - BOOKLIST
"Each tale grabs you within the first few sentences and never lets go, resulting in a collection guaranteed to take you on one of the scariest rides of your life." - RUE MORGUE

In The Concept of Justice, Patrick Burke explores and argues for a return to traditional ideas of ordinary justice in opposition to conceptions of "social justice" that came to dominate political thought in the 20th Century. Arguing that our notions of justice have been made incoherent by the radical incompatibility between instinctive notions of ordinary justice and theoretical conceptions of social justice, the book goes on to explore the historical roots of these ideas of social justice. Finding the roots of these ideas in religious circles in Italy and England in the 19th century, Burke explores the ongoing religious influence in the development of the concept in the works of Marx, Mill and Hobhouse. In opposition to this legacy of liberal thought, the book presents a new theory of ordinary justice drawing on the thought of Immanuel Kant. In this light, Burke finds that all genuine ethical evaluation must presuppose free will and individual responsibility and that all true injustice is fundamentally coercive.

Ours would appear to be an era of unprecedented variation in the mediation of meaning - television, computer, the older forms of radio and print. Since, however, such profusion of resources has not of itself guaranteed enhanced profundity or sophistication in our modes of understanding - psychological, sociological, philosophical, historical, and theological - the issue of the continued relevance of cultural forms, dependent both on the human voice and on ritualization, presents itself for consideration. How may modern people most tellingly relate to such overwhelmingly verbal processes as teaching, be it an erudite lecture or a classroom lesson with infants? Is singing, in the words of Tom Murphy, 'the only way to tell people who you are'? What, in particular, is the contemporary usefulness for the building of societies of one of our oldest and culturally valued rituals, that of drama? The Fourth Seamus Heaney Lectures, 'Mirror up to Nature': Drama and Theatre in the Modern World, given at St Patrick's College, Drumcondra, between October 2006 and April 2007, addressed these and related questions. The gifted play director, Patrick Mason, spoke with exceptional insight on the essence of theatre. Thomas Kilroy, distinguished playwright and critic, dealt with the topic of Ireland's contribution to the art of theatre. Two world authorities, Cecily O'Neill and Jonothan Neelands, gave inspiring accounts of the rich potential of drama in the classroom. Brenna Katz Clarke, Head of English at St Patrick's College, offered a delightful examination of the relationship between drama and film. Finally, John Buckley, internationally acclaimed composer, spoke on opera and its history, while giving an illuminating account of his own Words Upon The Window-Pane.

Probably no theologian has exercised so profound an influence on Catholic theology during the last half century as Karl Rahner. Patrick Burke examines the structure of dialectical analogy as it appears in each of the major themes of Rahner's theology-as an indispensable key to the correct interpretation of his thought. He also exposes a tension within the system that needs to be addressed if the complex balance of Rahner's vision is to be fully understood

Probably no theologian has exercised so profound an influence on Catholic theology during the last half century as Karl Rahner. Patrick Burke examines the structure of dialectical analogy as it appears in each of the major themes of Rahner's theology-as an indispensable key to the correct interpretation of his thought. He also exposes a tension within the system that needs to be addressed if the complex balance of Rahner's vision is to be fully understood

From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians' engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists' attempts to cast themselves as revolutionary were often naive, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements.

Transnational Moments of Change offers a broad introduction to the methodology and practice of transnational history. To demonstrate the value of this approach, the work focuses on Europe since World War II, a period whose study particularly benefits from a transnational vantage point. Twelve distinguished contributors from around the globe offer a range of transnational approaches to three continent-wide moments of change. The work begins with a look at the close of World War Two, when liberation from Nazi occupation offered the opportunity for social and political experiment. Next, essays explore the late 1960s as generational change and political dissatisfaction rocked urban centers from Paris to Prague. Finally, the book turns to the fall of communism, a moment of revolutionary change that not only spread rapidly from country to country, but even affected and interacted with protest movements in Western Europe and elsewhere. Together, the essays provide both a new perspective on postwar Europe and a range of models for the historian interested in using the transnational approach.