So my only protection is a kindergarten teacher and a ninety-eight-pound female minister....And they don't even believe I'm in danger. As Bethany approaches her thirteenth birthday, her parents begin acting more oddly than usual: Her mother cries constantly, and her father barely lets Bethany out of his sight. Then one morning he hustles the entire family into the car, drives across several state lines -- and leaves Bethany with an aunt she never knew existed. Bethany has no idea what's going on. She's worried that her mom and dad are running from some kind of trouble, but she can't find out because they won't tell her where they are going. Bethany's only clue is a few words she overheard her father tell her aunt Myrlie: "She doesn't know anything about Elizabeth." But Aunt Myrlie won't tell Bethany who Elizabeth is, and she won't explain why people in her small town react to Bethany as if they've seen a ghost. The mystery intensifies when Bethany gets a package from her father containing four different birth certificates from four states, with four different last names -- and thousands of dollars in cash. And when a strange man shows up asking questions, Bethany realizes she's not the only one who's desperate to unravel the secrets of her past. In this exhilarating thriller, Margaret Peterson Haddix crafts a taut story so full of twists and turns, readers will be gripped until the startling conclusion.

RThe author of "Escape from Memory" and the Shadow Children series has penned another suspenseful novel guaranteed to keep readers riveted.S--"Booklist."

Thirteen-year-old Bethany's parents have always been overprotective, but when they suddenly drop out of sight with no explanation, leaving her with an aunt she never knew existed, Bethany uncovers shocking secrets that make her question everything she thought she knew about herself and her family.

A groundbreaking examination of the “double” in modern and contemporary art From ancient mythology to contemporary cinema, the motif of the double—which repeats, duplicates, mirrors, inverts, splits, and reenacts—has captured our imaginations, both attracting and repelling us. The Double examines this essential concept through the lens of art, from modernism to contemporary practice—from the paired paintings of Henri Matisse and Arshile Gorky, to the double line works of Piet Mondrian and Marlow Moss, to Eva Hesse’s One More Than One, Lorna Simpson’s Two Necklines, Roni Horn’s Pair Objects, and Rashid Johnson’s The New Negro Escapist Social and Athletic Club (Emmett). James Meyer’s survey text explores four modes of doubling: Seeing Double through repetition; Reversal, the inversion or mirroring of an image or form; Dilemma, the staging of an absurd or impossible choice; and the Divided and Doubled Self (split and shadowed selves, personae, fraternal doubles, and pairs). Thought-provoking essays by leading scholars Julia Bryan-Wilson, Tom Gunning, W.J.T. Mitchell, Hillel Schwartz, Shawn Michelle Smith, and Andrew Solomon discuss a host of topics, including the ontology and ethics of the double, the double and psychoanalysis, double consciousness, the doppelgänger in silent cinema, and the queer double. Richly illustrated throughout, The Double is a multifaceted exploration of an enduring theme in art, from painting and sculpture to photography, film, video, and performance. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC July 10–October 31, 2022

A Jewish woman tells of her experience in the Polish underground during World War II, helping other Jews flee the Warsaw ghetto

A true crime masterpiece, and highly acclaimed 1940s movie 'DOUBLE INDEMNITY is among the finest of all American novels, regardless of genre or style' LA TIMES 'Cain is the master' Tom Wolfe DOUBLE INDEMNITY is the classic tale of an evil woman motivated by greed who corrupts a weak man motivated by lust. Walter Huff is an insurance investigator like any other until the day he meets the beautiful and dangerous Phyllis Nirdlinger and falls under her spell. Together they plot to kill her husband and split the insurance. It'll be the perfect murder . . .

The advance of identification technology-biometrics, identity cards, surveillance, databases, dossiers-threatens privacy, civil liberties, and related human interests. Since the terrorist attacks of September 11, 2001, demands for identification in the name of security have increased. In this insightful book, Jim Harper takes readers inside identification-a process everyone uses every day but few people have ever thought about. Using stories and examples from movies, television, and classic literature, Harper dissects identification processes and technologies, showing how identification works when it works and how it fails when it fails. Harper exposes the myth that identification can protect against future terrorist attacks. He shows that a U.S. national identification card, created by Congress in the REAL ID Act, is a poor way to secure the country or its citizens. A national ID represents a transfer of power from individuals to institutions, and that transfer threatens liberty, enables identity fraud, and subjects people to unwanted surveillance. Instead of a uniform, government-controlled identification system, Harper calls for a competitive, responsive identification and credentialing industry that meets the mix of consumer demands for privacy, security, anonymity, and accountability. Identification should be a risk-reducing strategy in a social system, Harper concludes, not a rivet to pin humans to governmental or economic machinery.