When archaeologist Lucy Morgan uncovers a seven-thousand-year-old tomb holding remains alien to our world, she realizes she has stumbled upon something importantâ€"something with the potential to rewrite history. But before Lucy can retrieve the remains, she’s abducted.
A former war correspondent in Iraq and Afghanistan, Ethan Warner has seen much action in the line of fire. Now back home in Chicago, he’s hoping to finally pick up the pieces of his broken life and begin to lead a more normal existence. But! when called upon by Lucy’s family to help find her, he know! s he can not let them down. Especially since he knows firsthand what it’s like to have a loved one go missing.
Meanwhile, in Washington, D.C., detectives Nicola Lopez and Lucas Tyrell are called to an abandoned building to check out a possible homicide. What at first glance appears to be the bodies of overdose victims in a crack den is instead something more sinister. How is it possible that these emaciated, naked bodiesâ€"rotting in the sweltering heat of Augustâ€"show signs of hypothermia?
Working independently, Ethan and the detectives each discover that a shadowy corporation may have something to do with Lucy’s disappearance and the mysterious bodies. And Ethan soon realizes that it’s not just Lucy’s life that’s at stake but the fate of the world, and he must risk everything to stop those willing to alter the course of history, before it’s too late.
In the tradition of books by Michael Crichton and James Rollins, Covenant combines science, suspense,! and ingenious speculation to create an action-packed blockbuster not to be missed.
The New York Times bestseller is "a fascinating fantasy" (Midwest Book Review).
Thomas Covenant is alive again, restored to his mortal body by Linden Avery's magic-a defiant act of love that has unleashed unimaginable power capable of devastating the Land. The only hope to stop this may lie with the mysterious boy Jeremiah, Linden's adopted son, whose secrets are only beginning to come to light...
The Hematoi descend from the unions of gods and mortals, and the children of two Hematoi-pure-bloods-have godlike powers. Children of Hematoi and mortals-well, not so much. Half-bloods only have two options: become trained Sentinels who hunt and kill daimons or become servants in the homes of the pures.Seventeen-year-old Alexandria would rather risk her life fighting than waste it scrubbing toilets, but she may end up slumming it anyway. There are several rul! es that students at the Covenant must follow. Alex has problem! s with t hem all, but especially rule #1:Relationships between pures and halfs are forbidden.Unfortunately, she's crushing hard on the totally hot pure-blood Aiden. But falling for Aiden isn't her biggest problem--staying alive long enough to graduate the Covenant and become a Sentinel is. If she fails in her duty, she faces a future worse than death or slavery: being turned into a daimon, and being hunted by Aiden. And that would kind of suck.The year is 993 BC. After years of bloody civil war, Eleazar son of Dodai, one of King David's most elite warriors, wants nothing more than to finally live peacefully in the land. But on the plains near the Great Sea, a terrifying army of Philistines has mobilized to crush the Hebrew tribes once and for all. In the sun-drenched valleys and dark forests of the hill country, Eleazar and his warriors make their stand against Israel's deadliest enemy. The fate of an entire nation rests on the courage of a small band of heroes known as the Mighty ! Men. In a land torn by conflict, depleted by drought and threatened by treachery, the horrors and heroism of the ancient battlefields come to life. Covenant of War is the second book in the Lion of War series---the intense, gritty, and stylistic portrayal of the Mighty Men of Israel, a rag-tag band of warriors who came to King David in his most desperate hour and fought with him while he claimed the throne he was destined to fill. Their legendary deeds are recorded in 2 Samuel 23 and 1 Chronicles 11.More than twenty years ago, Stephen R. Donaldson set a literary landmark with the first fantasy bestseller. His New York Times bestselling series, The Chronicles of Thomas Covenant, transformed modern fantasy. Now, at long last, Donaldson introduces the first novel of the much-awaited, four-volume finale to the series that's sold more than ten million copies.Amazon.com Exclusive Content
Worth the Wait
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ! ShannonYou've got to admire a movie that embraces womanhoo! d as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who lack a coherent plan for illuminating their trio of female siblings. Despite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Wa! lter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonYou've got to admire a movie that embraces womanhood as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who ! lack a coherent plan for illuminating their trio of female sib! lings. D espite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title)! , becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonMothers, daughters, wives, friends: These are the women of The Women. Based on Clare Boothe Luce's Broadway success and the hit 1939 movie, this sparkling update (from Murphy Brown creator Diane English) set in Manhattan and featuring an all-star, all-female cast says a lot about what it means to be today's woman and all of it's funny! The story starts with beautiful, smart, accomplished Mary Haines (Meg Ryan) discovering her husband is cheating on her. It's a time when friends are needed, so Mary's gal pals (Annette Bening, Jada Pinkett Smith and Debra Messing) and mother (Candice Bergen) rally round with advice, cocktails and shopping. The Wife vs. the Other Woman (Eva Mendes): Sharpen your claws for a timeless and wonderfully witty battle.For fans of some of America's finest actresses, seeing a film with even! one of the cast members of The Women would be a treat.! But thi s remake of George Cukor's famed girl-trouble ensemble film features Meg Ryan, Annette Bening, Jada Pinkett Smith, Eva Mendes, Debra Messing, Cloris Leachman, Bette Midler, Carrie Fisher, Joanna Gleason, and Candice Bergen--whew!--making it a film that fans of these terrifically talented women can savor. The remake may not have the cat-itude or camp factor of the original, but so what? The cast's chemistry really shines; friendship is thicker than water, it turns out--even stronger than the ties that bind women to their men. Ryan is the good-girl Mary Haines, whose husband, she and her friends learn, is cheating on her with the stunning femme fatale Crystal (Mendes, in the Joan Crawford role)--"a spritzer" at the perfume counter. Quelle horreur! The other women rally around the hapless Mary, staging interventions, offering snappy advice, and plotting battles on behalf of their friend. But it turns out that Ryan's Mary isn't quite as fragile as she seems. Gimlets and g! irl talk--lots of both--go a long way toward getting our heroine through her crisis, and onto a new stage in her life that surprises her husband and more than one of her pals. And the laughs by the appearances of Midler and Bergen, especially, are worth watching the whole film for. --A.T. Hurley
How did this film initially come about?
Kenner: Eric Schlo! sser and I had been wanting to do a documentary version of his book, Fast Food Nation. And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.
How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States. So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.
How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years. The film itself about 2 ½ ye! ars. It has taken a lot longer than we expected because we w! ere deni ed access to so many places.
Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations. They just would not let us in. It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal. The legal challenges on this film were also unique. We found it necessary to consult with a first amendment lawyer throughout the entire filming process.
Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma.Â
And then, as we went out into the world, we became really incredibl! y influenced by a lot of the farmers we met.
What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.
Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything. Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking! . And that was my biggest surprise.
So, what d! oes our current industrialized food system say about our values as a nation?
Pollan: It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.
Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things. And we had many choices. We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way. And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of.
And that just always haunted me â€" how could this happen in America? It seems very un-American that we would be so dominated, and then so intimidated by the companies! that are dominating this marketplace.
How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein: We discovered that the food industry has managed to shape a lot of laws in their favor. For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face. A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry.Â
What have been the consequences for the American consumer?
Kenner: Most American consumers think that we are being protected. But that is not the case. Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat. The FDA and the USDA have had their inspectors cut back. And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial int! erest involved, these companies would rather make the money an! d be sue d than correct it. Self-policing has really just been a miserable failure. And I think that's been really quite harmful to the American consumer and to the American worker.Â
Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers. It’s outrageous that genetically modified foods don’t need to be labeled. Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing. Whatever your position, you should have the right to make informed choices, and we don’t. Now the FDA is contemplating whether or not to label meat and milk from cloned cows. It seems very basic that consumers should have the right to know if they’re eating a cloned steak.
Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan: Yes. There are alternative ways! of producing food that could improve Americans’ health. Quality matters as much as quantity and yield is not the measure of a healthy food system. Quantity improves a population’s health up to a point; after that, quality and diversity matters more. And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy. It’s failing on both counts.
There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables. Can you give us a profile of the average worker?
Schlosser: The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year. The typical meatpacking worker has a similar background but earns about twice that amount. A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.
Why are there so many Spanish-speak! ing workers?
Kenner: The same thing that created! obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world. And those farmers can no longer grow food and compete with the U.S.’ subsidized food. So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.
And they have been here for a number of years. But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here. But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives. And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line. And what happens is that they are replaced by other, desper! ate immigrant groups.
Could the American food industry exist without illegal immigrants?
Schlosser: The food industry would not only survive, but it would have a much more stable workforce. We would have much less rural poverty. And the annual food bill of the typical American family would barely increase. Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.
What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser: Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment. But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.
I am not opposed to food science. What matters is how that ! science is used … and for whose benefit.
Can! a perso n eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan: Yes, the supermarkets still carry real food. The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.
How are low-income families impacted at the supermarket?
Kenner: Things are really stacked against low-income families in this country. There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook. And the fast food is very reasonably priced. Coke is selling for less than water. So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night. At the moment, our food is unfairly priced towards bad food.
And, in ! the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.
What can low-income families do to eat healthier?
Schlosser: As much as possible, they can avoid cheap, processed foods and fast foods. It’s possible to eat well and inexpensively. But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water. The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.
Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time. If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.
If someone wanted to get! involved and help change the system, what would you suggest t! hey do?
Pearlstein: I hope people will want to be more engaged in the process of eating and shopping for food. We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them. Maybe it’s really just “voting with their forks†â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.
People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year. That really helps support farmers and you get fresh, seasonal food. On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools. And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it i! s something we should care about.
What do you hope people take away from this film?
Schlosser: I hope it opens their eyes.
Kenner: That things can change in this country. It changed against the big tobacco companies. We have to influence the government and readjust these scales back into the interests of the consumer. We did it before, and we can do it again.
Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country. Food, Inc. is the most important and powerful film about our food system in a generation.
For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angl! es, talking to authors, advocates, farmers, and CEOs, like co-! producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner t! akes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy
Nathan Abercrombie is getting used to his rotten life as a half-dead zombie. The good thing is he doesn’t feel any pain. The bad thing is his body can’t heal, so he has to be really careful not to break anything. But that’s hard to do when his wrestling-obsessed gym teacher, Mr. Lomux, matches him up with Rodney the bully, who’s looking for any excuse to break his bones. Then one day, Nathan is approached by the secret organization B.U.M.â€"aka the Bureau of Useful Misadventuresâ€"which offers him a cure in exchange for his help. Nathan jumps at the chance to become the world’s first zombie spy, but soon discovers that B.U.M. isn’t quite what it seems. Can Nathan trust them?
What elevates She's All That above the realm of standard teen fare is its mixture of good-natured fairy-tale romance and surprisingly clear-eyed view of high schoo! l social strata. The lines of class are demarcated as clearly as if in a Jane Austen novel, but the satire is equally deflating and affectionate. Sure, high school could be bad sometimes, but it was lots of fun too; this is a movie good-natured enough to take time out for an extended hip-hop dance number at the prom. Director Robert Iscove (who also helmed the Brandy-starring TV adaptation of Cinderella) has also assembled a great young cast, including a scene-stealing Anna Paquin as Zach's no-nonsense sister, Kieran Culkin as Laney's geeky brother, and a stupidly goofy Matthew Lillard as a Real World cast member whose arrival shakes things up a little too much. And amidst all the comedy and prom drama, you'd be hard-pressed to find two teen stars as talented, attractive, and appealing as Prinze and Cook. Prinze is an approachable and sensitive jock, though it's Cook who's the true star, investing Laney with confidence, humor, and heart. Like Zach, you'll be h! ard-pressed not to fall in love with her. By the story'! s end, b oth Cook and the film will have charmed the socks off of you. --Mark EnglehartHot screen favorites Freddie Prinze Jr. (SHE'S ALL THAT, I KNOW WHAT YOU DID LAST SUMMER) and Julia Stiles (10 THINGS I HATE ABOUT YOU) sizzle in a fun and sexy comedy where the magic of first love collides with the challenges of real life! From the moment they meet amid the chaos of college in New York City, Al (Prinze) and Imogen (Stiles) begin a romantic journey where true love often competes with the temptation to stray from commitment! As time passes and an outrageous array of friends enter the scene, they'll celebrate all the highs and confront all the lows that greet their passionate affair. Also featuring Henry Winkler (THE WATERBOY), Selma Blair (CRUEL INTENTIONS), and Shawn Hatosy (OUTSIDE PROVIDENCE, THE FACULTY) in a stellar cast -- you'll want to join this irresistible couple as they face the future ... with some wildly unexpected results!Al (Freddie Prinze Jr., from She's A! ll That and I Know What You Did Last Summer) and Imogen (Julia Stiles from 10Â Things I Hate About You) take turns narrating the story of their college romance. Al has a celebrity chef for a father (an amusing turn from Henry Winkler) and a rising porn star for a best friend (Zak Orth). The dialogue is stale, the story flounders, and the movie can't seem to decide whether it wants to be a sweet romance or a social satire. Down to You keeps dropping into odd fantasy bits that have nothing to do with, well, much of anything. But all the stars--including Selma Blair (Cruel Intentions) and Shawn Hatosy (Outside Providence) are pleasant and well groomed (well, except for Hatosy, who bears the brunt of being the poster boy for every fad of the '90s), and the soundtrack (featuring Cibo Matto, early David Bowie, Yo La Tengo, and others) is excellent. --Bret FetzerDo you worry that no one outside of your immediate family can understand ! what your child says? This inspiring DVD, by one of the most ! respecte d speech-language pathologists (SLP) in the field of Down syndrome, looks at the importance of speech intelligibility and what makes clear speech challenging for people with Down syndrome. Dr. Libby Kumin explains the components of speech that parents and SLPs should pay attention to, helping them identify what a child or adult needs to work on in speech therapy.
What Did You Say? reminds parents that the quality of their child's speech often reflects on how society perceives their child's abilities. Dr. Kumin's positive outlook reassures viewers that improvement is possible, especially when you know what the problems are. The video carefully defines the factors that contribute to understandable speech. These include such issues as anatomical factors, articulation, intonation, the ability to sequence sounds in the proper order, the rate of speech, and social use of language (making eye contact, using facial expressions and gestures to get a message across).! The DVD features dozens of boys and girls with Down syndrome, from preschool age to young adulthood, showing various levels of speech intelligibility. They may be working on a problem area and giving parents a chance to hear what different speech problems sound like, or demonstrating understandable speech and showing what can be achieved with effective speech therapy. ! The DVD also features a bonus section with useful tips on writing effective Individualized Education Program (IEP) goals related to speech intelligibility.
This comprehensive overview of speech intelligibility problems is useful to parents of young children who speak but are not easily understood. What Did You Say? is also an excellent companion to Kumin's book Early Communication Skills for Children with Down Syndrome.
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