On New Year's Eve in Manhattan, a werewolf attack sparks an epidemic. Each night the victims multiply. The disease spreads. An army grows. As authorities scramble to contain the monsters, they discover that one man is behind them. His name is Demetrius Valenkov. And he has a message for the United States: FIND A CURE. The disease evades an international coalition of top scientists. The president must prepare an unspeakable solution. But one person has picked up Demetrius Valenkov's trail: FBI counterterrorism specialist Brianna Tildascow. Forged by tragedy, training and technology, she's the government's most efficient--and ruthless--manhunter.

Life on the moon under anything less than optimal conditions had always been a nightmare, and as Joe Kenmore and his colleague, Moreau, drove back to the City On The Moon on that day the Earth shuttle was due to land, the nearby mountain supporting critical elements of the shuttle's landing mechanisms crumbled causing an avalanche and resulting in chaos. Optimal conditions were no where in sight that day and as Kenmore and Moreau's investigations lead to their conclusion that explosions had been responsible for the avalanche. Now they realized that they were in a race against the clock to restore the landing beam before the shuttle had reached it's point of no return prior to landing. Kenmore had more than strictly humanitarian reasons for wanting to prevent a mishap aboard the shuttle that day, because on this particular mission, Arlene Gray was aboard. Kenmore had been anxiously awaiting her arrival, and now his love's life might hang in the balance.

Life on the moon under anything less than optimal conditions had always been a nightmare, and as Joe Kenmore and his colleague, Moreau, drove back to the City On The Moon on that day the Earth shuttle was due to land, the nearby mountain supporting critical elements of the shuttle's landing mechanisms crumbled causing an avalanche and resulting in chaos. Optimal conditions were no where in sight that day and as Kenmore and Moreau's investigations lead to their conclusion that explosions had been responsible for the avalanche. Now they realized that they were in a race against the clock to restore the landing beam before the shuttle had reached it's point of no return prior to landing. Kenmore had more than strictly humanitarian reasons for wanting to prevent a mishap aboard the shuttle that day, because on this particular mission, Arlene Gray was aboard. Kenmore had been anxiously awaiting her arrival, and now his love's life might hang in the balance.

Whether you’re interested in visiting Apollo landing sites or the locations of classic sci-fi movies, this is the tourist guide for you! This tourist guide has a twist – it is a guide to a whole different world, which you can visit from the comfort of your backyard with the aid of nothing more sophisticated than an inexpensive telescope. It tells you the best times to view the Moon, the most exciting sights to look out for, and the best equipment to use, allowing you to snap stunning photographs as well as view the sights with your own eyes. Have you ever been inspired by stunning images from the Hubble telescope, or the magic of sci-fi special effects, only to look through a small backyard telescope at the disappointing white dot of a planet or faint blur of a galaxy? Yet the Moon is different. Seen through even a relatively cheap 'scope, it springs into life like a real place, with mountains and valleys and rugged craters. With a bit of imagination, you can even picture yourself as a sightseeing visitor there – which in a sense you are.

British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes--time capsules, time zones, and ruins--this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It offers a synoptic, wide-ranging look at writers on the home front, including Henry Green, Elizabeth Bowen, Virginia Woolf, and Rose Macaulay, through a variety of genres, such as life-writing, the novel, and the short story. It also considers an array of cultural and archival material from photographers such as Cecil Beaton, filmmakers such as Charles Crichton, and artists such as John Minton. It shows how figures harnessed or exploited their media's temporal properties to formally register the distinctiveness of this wartime through a complex feedback between anticipation and retrospection, oftentimes fashioning the war as a memory, even while it was taking place. While offering a strong foundation for new readers of the mid-century, the book's overall theoretical focus on chronophobia will be an important intervention for those already working in the field.