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Even as Vijay's revolution is becoming more successful, Jennifer finds herself dragged deeper in the world of the AIs and Gaia, urged to take on a role that could be the end of her. Increasingly desperate, she turns to those around her to try and keep from the madness she feels coming on.

In a city where artificial intelligence (AI) is driving widespread unemployment and unrest, Vijay, a technician at the Mercury Theatre, is given the chance to become the face and leader of a new rebellion. Vijay’s close friend, Ron, is hired by an AI, and sees no risk in the AI dominance in the workplace.

For the Sake of the Game is the latest volume in the award-winning series from New York Times best-selling editors Laurie R. King and Leslie S. Klinger, with stories of Sherlock Holmes, Dr. Watson, and friends in a variety of eras and forms. King and Klinger have a simple formula: Ask some of the world's greatest writers-regardless of genre - to be inspired by the stories of Arthur Conan Doyle. The results are surprising and joyous.

A spring break mountain-climbing trip could be a chance for Kendal to connect with her distant father. A little adventure and time together seem like a good idea, but there's one problem: The mountain might be cursed. Soon a father-daughter getaway turns dangerous, and they might not make it to the summit. That's the thing about bonding - you have to be alive to do it.

The Black River flows from Missouri into Arkansas, east of Branson and west of the Bootheel. It meanders where the foothills of the Ozarks begin to rise out of the Mississippi plain. The area was sparsely populated when E. R. Coleman was a young man. Like the population they served, businesses were modest, mostly small, and scattered. Arkansas was still the Bear State; slogans boasting that it was - or predicting that it would become - the "Land of Opportunity" were yet to be conceived.

From King Kong to Candyman, the boundary-pushing genre of horror film has always been a site for provocative explorations of race in American popular culture. This book offers a comprehensive chronological survey of Black horror from the 1890s to present day. In this second edition, Robin R. Means Coleman expands upon the history of notable characterizations of Blackness in horror cinema, with new chapters spanning the 1960s, 2000s, and 2010s to the present, and examines key levels of Black participation on screen and behind the camera. The book addresses a full range of Black horror films.

The Black Guy Dies First explores the Black journey in modern horror cinema, from the fodder epitomized by Spider Baby to the Oscar-​winning cinematic heights of Get Out and beyond. This eye-opening book delves into the themes, tropes, and traits that have come to characterize Black roles in horror since 1968, a year in which race made national headlines in iconic moments from the enactment of the 1968 Civil Rights Act and Martin Luther King Jr.’s assassination in April. This timely book is a must-listen for cinema and horror fans alike.

It's uncertain that Howard Thurman made the remark often attributed to him, "I have been writing this book all my life," but there is little doubt that he was deeply immersed in reflection on the times that bear an uncanny resemblance to the present day, which give voice to the Black Lives Matter movement.

A sinister force threatens a teenage horror fan, and only a team of B movie monsters can come to his rescue. Fear stalks a group of punks when a scarecrow proves that birds aren’t the only things it can terrorize. And all hell breaks loose when a man discovers that his next-door neighbor possesses the power to reanimate the dead... Celebrate the music of the night with Scare Street’s latest collection of diabolical horror. Thirteen tales of paranormal horror haunt this new volume. More than enough to keep you listening on long after the sun goes down.