In this sequel to Lost Things, when the Gilchrist Aviation team tries to win the money to keep the business going by placing first in a coast-to-coast air race, things get complicated! A stolen necklace, a runaway Russian countess, and a century-old curse seem like trouble enough, but then there's New Orleans, and the unsolved murders of the New Orleans Axeman. But what if the murderer is one of them? This digital Edition features an excerpt from LOST THINGS, the first book in the series, as well as an excerpt form THE PARTING - a Novel of the O.C.L.T. by David Niall Wilson. FIND MORE TITLES by MELISSA SCOTT & Crossroad Press, including Five-Twelfths of Heaven, Silence in Solitude, The Kindly Ones, and more by searching Melissa Scott and Crossroad Press. Also available Jo Graham's The Ravens of Falkenau, and the unabridged audio of her classic historical fantasy - Hand of Isis, narrated by Gigi Shane. CROSSROAD PRESS offers many SCI-FI and FANTASY books, including the original series properties O.C.L.T., Tales of The Scattered Earth, The DeChance Chronicles, and more.

Hard as nails and hot as hell, badass bounty hunter Barb Wire rides the meanest streets of America's toughest town: Steel Harbor, USA. Barb tracks gangsters who can punch through walls and crush cars like beer cans, but it's nothing personal, just business. It's a dirty job, but someone's gotta do it! The bitch is back! The comic book that inspired the motion picture, Barb Wire returns with pedal-to-the-metal action and full-metal-jacket girl power! Written by series creator Chris Warner and drawn by Catwoman and Spider-Girl artist Patrick Olliffe.

With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America's favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler "String Beans" May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the "blues master piano player of the world." His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female "coon shouters" acquired a more dignified aura in the emergent persona of the "blues queen." Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before--a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.

Dion and Leith aren’t just detectives, they’re human beings. See, that’s the problem. RCMP officer David Leith and his team investigate a series of murders in this atmospheric new crime series. Cold Girl — Book #1 A singer vanishes in the snowbound Hazeltons. Has she been snatched by the so-called Pickup Killer? Investigator David Leith has much to contend with — punishing weather and wily witnesses, plus a young constable who’s more hindrance than help. Suspects multiply, but only at the bitter end does Leith discover who is the coldest girl of all. Undertow — Book #2 RCMP detective Leith fears he’s made a mistake bringing his family to North Vancouver. His first Serious Crimes Unit case has rocked his senses: who would brutally murder a mother, father, and baby? Detective Dion, also regretting the move, has returned to the city where he no longer fits in — but is he back in the swim, or destined to drown? Creep — Book #3 A pair of dead bodies don’t seem linked, or even suspicious, at first, but Dion and Leith soon find themselves with a hairy murder case on their hands. As Dion gets tangled up with a witness and Leith loses himself in the case, a different kind of killer is on the prowl. But the rumours about him being more than human can’t possibly be true ... Flights and Falls — Books #4 While Constable Dave Leith investigates past incidents along the stretch of highway to zero in on the faceless prankster, his unlikely partner on the case, Cal Dion, begins to suspect the team is on the wrong track.