Ross Wilson

Detective Inspector Harker is a man on a mission: to find the serial killer of innocent young girls before yet another victim is discovered. The killer is also a man on a mission: to add to the macabre tally of 'sacrifices' to his celestial lord, Uriel. A religious maniac is loose in society and it's Harker's job to find him. The trouble is, the mad killer is clever, very clever and in this darkly disturbing thriller the reader is taken on an unforgettable journey through the twists and turns of an investigation which seems to be getting nowhere - until a vital telephone call to a taxi company leads to a violent climax. URIEL ARCHANGEL OF PURITY "The world is corruptible, flawed and discordant. We must scour it of its imperfections, returning it to its former state of glory."

Betrayed by his superiors, branded an outcast, his daughter murdered. Khris Modahl is forced from his dark world and thrust into one even darker. Driven by the uncontrollable need to avenge his daughter's death he is drawn into the shadowy world of the "Bruderschaft", a secret brotherhood of Neo-Nazis, uncovering a plot that has been in the making since the early days of the Third Reich. He has become an unwitting player in a deadly game, hunted by both sides. He must track down all those responsible for his daughter's death and destroy them. Not only for the sake of his daughter; But for the very existence of the free world. "The world is governed by very different personages from what is imagined by those who are not behind the scenes" Benjamin Disraeli

Percy Bysshe Shelley, in the essay 'On Life' (1819), stated 'We live on, and in living we lose the apprehension of life'. Ross Wilson uses this statement as a starting point to explore Shelley's fundamental beliefs about life and the significance of poetry. Drawing on a wide range of Shelley's own writing and on philosophical thinking from Plato to the present, this book offers a timely intervention in the debate about what Romantic poets understood by 'life'. For Shelley, it demonstrates poetry is emphatically 'living melody', which stands in resolute contrast to a world in which life does not live. Wilson argues that Shelley's concern with the opposition between 'living' and 'the apprehension of life' is fundamental to his work and lies at the heart of Romantic-era thought.

This volume brings together an impressive range of established and emerging scholars to investigate the meaning of ‘life’ in Romantic poetry and poetics. This investigation involves sustained attention to a set of challenging questions at the heart of British Romantic poetic practice and theory. Is poetry alive for the Romantic poets? If so, how? Does ‘life’ always mean ‘life’? In a range of essays from a variety of complementary perspectives, a number of major Romantic poets are examined in detail. The fate of Romantic conceptions of ‘life’ in later poetry also receives attention. Through, for examples, a revision of Blake’s relationship to so-called rationalism, a renewed examination of Wordsworth’s fascination with country graveyards, an exploration of Shelley’s concept of survival, and a discussion of the notions of ‘life’ in Byron, Kierkegaard, and Mozart, this volume opens up new and exciting terrain in Romantic poetry’s relation to literary theory, the history of philosophy, ethics, and aesthetics.

Drawing on a wide range of scholarship, this book offers a new and comprehensive examination of Kant's argument that aesthetic judgements are combined with a claim to subjective universality. The author gives a detailed account of the background to this claim in Kant's epistemology, logic, and metaphysics, before closely attending to the crucial sections of the Critique of the Power of Judgement. In particular, it is shown that Kant's aesthetics requires that his theory of the subject be rethought. Central to the theory of the subject that begins to emerge from the Third Critique is Kant's enigmatic notion of 'life' which is extensively explored here. This study, therefore, thoroughly examines the central features of Kant's account of aesthetic judgements, suggesting that a new and exciting theory of subjectivity begins to be outlined in Kant's aesthetics. The author argues for the placement of Kant's account of the subjective universality of aesthetic judgement at the centre of contemporary philosophical aesthetics.