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One of the most daring feats in Patrick Leigh Fermor's daring life was the kidnapping of General Kreipe, the German commander in Crete, on April 26, 1944.Abducting a General, now published for the first time in the United States, is Leigh Fermor's own account of the kidnapping. Written in his inimitable prose, and introduced by the acclaimed Special Operations Executive historian Roderick Bailey, it is a glorious firsthand account of one of the great adventures of the Second World War. Also included in this book are Leigh Fermor's intelligence reports sent from caves deep within Crete, which bring the immediacy of SOE operations vividly alive, as well as the peril under which the SOE and Resistance were operating, and a guide to the journey that Kreipe took, from the abandonment of his car to the embarkation site, so that the modern visitor to Crete can relive this extraordinary trip.in Crete yet still retaining his remarkable prose skills, which bring the immediacy of SOE operations vividly alive, as well as the peril under which the SOE and Resistance were operating; and a guide to the journey that Kreipe was taken on, as seen in the 1957 film Ill Met by Moonlight starring Dirk Bogarde, from the abandonment of his car to the embarkation site so that the modern visitor can relive this extraordinary event.
How to introduce children to Shakespeare, not just to the stories behind the plays but to the richness of Shakespeare's language and the depth of his characters: That's the challenge that Leon Garfield, no slouch as a wordsmith himself, sets out to meet in his monumental and utterly absorbing Shakespeare Stories. Here twenty-one of the Bard's plays are refashioned into stories that are true to the wit, the humor, the wisdom, the sublime heights, the terrifying depths, and above all the poetry of their great originals. Throughout, Garfield skillfully weaves in Shakespeare's own words, accustoming young readers to language and lines that might at first seem forbiddingly unfamiliar. Leon Garfield's Shakespeare Stories is an essential distillation--a truly Shakespearean tribute to Shakespeare's genius and a delight for children and parents alike.
Spanning 1940s to 2020s America, a Pynchon-esque saga about rock music, art, politics, and the elusive nature of loveMeet everyman Moses Teumer, whose recent diagnosis of an aggressive form of leukemia has sent him in search of a donor. When he discovers that the woman who raised him is not his biological mother, he must hunt down his birth parents and unspool the intertwined destinies of the Teumer and Savant families. Salome Savant, Moses's birth mother, is an avant-garde artist who has spent her life in and out of a mental health facility. Her son and Moses's half-brother, Alchemy Savant, the mercurial front man of the world-renowned rock band The Insatiables, abandons music to launch a political campaign to revolutionize 2020s America. And then there's Ambitious Mindswallow, aka Ricky McFinn, who journeys from juvenile delinquency in Queens to being The Insatiables' bassist and Alchemy's Sancho Panza. Bauman skillfully weaves the threads that intertwine these characters and the histories that divide them, creating a postmodern vision of America that is at once sweeping, irreverent, and heartbreaking.
From the author of the best-selling and Booker Prize-shortlisted The Glass Room and TrapezeAn historical thriller that brings back Marian Sutro, ex-Special Operations agent, and traces her romantic and political exploits in post-World War II London, where the Cold War is about to reshape old loyalties As Allied forces close in on Berlin in spring 1945, a solitary figure emerges from the wreckage that is Germany. It is Marian Sutro, whose existence was last known to her British controllers in autumn 1943 in Paris. One of a handful of surviving agents of the Special Operations Executive, she has withstood arrest, interrogation, incarceration, and the horrors of Ravensbrück concentration camp, but at what cost? Returned to an England she barely knows and a postwar world she doesn't understand, Marian searches for something on which to ground the rest of her life. Family and friends surround her, but she is haunted by her experiences and by the guilt of knowing that her contribution to the war effort helped lead to the monstrosities of Hiroshima and Nagasaki. When the mysterious Major Fawley, the man who hijacked her wartime mission to Paris, emerges from the shadows to draw her into the ambiguities and uncertainties of the Cold War, she sees a way to make amends for the past and at the same time to find the identity that has never been hers. A novel of divided loyalties and mixed motives, Tightrope is the complex and enigmatic story of a woman whose search for personal identity and fulfillment leads her to shocking choices.
With The Good, the Bad, and the Furry, author Sam Stall has consulted with dozens of breed rescue groups to learn the best--and worst--traits of more than 100 different dogs, from Affenpinschers and Afghans to Whippets and Yorkshire Terriers. These illustrated profiles offer honest, warts-and-all assessments of the world's most popular breeds--and show which ones are right for you. * Like to watch TV? The Brussels Griffon is a perfect companion for a couch potato's lifestyle. * Love to garden? So does the Bernese Mountain Dog, so be careful. Anyone considering this breed should expect a backyard full of holes. * Have a house full of kids? The trusty Irish Setter will be their best friend. * Live in a big-city high-rise? Pass on the Jack Russell Terrier--these dogs have tremendous energy and need plenty of open space to burn it off. With more than 100 illustrations and a handy at-a-glance icon reference system, The Good, the Bad, and the Furry has everything you need to find the right dog for you!
In the great modern narrative nonfiction tradition of Ryszard Kapuściński, Burning the Grass is a literary masterpiece of true crime based on the April 2010 murder of Eugène Terre'Blanche, firebrand leader of the far-right AWB (Afrikaner Weerstandsbeweging--the Afrikaner Resistance Movement), who espoused white Afrikaner rule even as it was ending in South Africa. It tells a universal story of small-town life where every face is familiar and people's immediate experience is hardly touched by national trends or ideologies. Jagielski intrudes on the intimate lives of the inhabitants to give us writing that jumps off the page for its immediacy, scope, and ambition. Never before has there been a book about South Africa like this.A white Afrikaner runs the Blue Crane Tavern on the outskirts of Ventersdorp that caters to blacks, a failing enterprise that he clings to obstinately. A black African is a local politician from the township of Tshing who commutes to the Town Hall in the white town as an advisor to the local government, but who is never asked for his advice. Everyone knows Eugène Terre'Blanche--for his cruelty to the workers on his farm as much as for his leadership of the AWB. The Boardman family--outcasts for being of British descent in an Afrikaner world--are at the center of Jagielski's story, a family that is ostracized almost equally by their black and white neighbors.Like Janet Malcolm in her true-crime narratives, or even Truman Capote in In Cold Blood, Jagielski uses death to enter into life, keeping our faces close enough to the pulse of it to let us smell the blood and know it as our own.From the Trade Paperback edition.
In Writers, great American storyteller Barry Gifford paints portraits of famous writers caught in imaginary vulnerable moments in their lives. In prose that is funny, grotesque, and a touch brutal, Gifford shows these writers at their most human, which is to say at their worst: they are liars, frauds, lousy lovers, and drunks. This is a world in which Ernest Hemingway drunkenly sets explosive trip wires outside his home in Cuba, Marcel Proust implores the angel of death as a delirious Arthur Rimbaud lies dying in a hospital bed, and Albert Camus converses with a young prostitute while staring at himself in the mirror of a New York City hotel room.In Gifford's house of mirrors, we are offered a unique perspective on this group of literary greats. We see their obsessions loom large, and none more than a shared needling preoccupation with mortality. And yet these stories, which are meant to be performed as plays, are also tender and thoughtful exercises in empathy. Gifford asks: What does it means to devote oneself entirely to art? And as an artist, what defines success and failure?From the Hardcover edition.
In the tradition of Jaron Lanier's You Are Not a Gadget, a rousing, sharply argued--and, yes, inspiring!--reckoning with our blind faith in technology Can technology solve all our problems? Despite overwhelming evidence to the contrary, many of our most famous journalists, pundits, and economists seem to think so. According to them, "intelligent machines" and big data will free us from work, educate our children, transform our environment, and even make religion more user-friendly. This is the story they're telling us: that we should stop worrying and love our robot future. But just because you tell a story over and over again doesn't make it true. Curtis White, one of our most brilliant and perceptive social critics, knows all about the danger of a seductive story, and in We, Robots, he tangles with the so-called thinkers who are convinced that the future is rose-colored and robotically enhanced. With tremendous erudition and a punchy wit, White argues that we must be skeptical of anyone who tries to sell us on technological inevitability. And he gives us an alternative set of stories: taking inspiration from artists as disparate as Sufjan Stevens, Lars von Trier, and François Rabelais, White shows us that by looking to art, we can imagine a different kind of future. No robots required.From the Hardcover edition.
In the tradition of big-picture histories like The Swerve, a riveting account of a battle that changed the course of history--and a lost masterpiece by Leonardo da Vinci When the armies of Florence, Venice, and the Papal States clashed with the forces of the Republic of Milan on June 29, 1440, the outcome would bring the Medicis to power and lead to the Renaissance. Into this deeply researched and ground-breaking book on the little-known battle of Anghiari, Capponi weaves the story of a lost fresco that Leonardo da Vinci was commissioned to paint to commemorate the battle on the wall of the Palazzo Vecchio--directly across from his rival, Michelangelo. Da Vinci abandoned the work and it was soon painted over. Now, hundreds of years later, the Italian researcher Maurizio Seracini has proved that da Vinci's original art is still there, and he's working to uncover it. Niccolo Capponi's The Day the Renaissance Was Saved combines a thrilling narrative of battle with the mystery of a famous painting gone missing, rolling military history, art history, and political history all into one, with a heavy does of the ever-fascinating Medicis--who schemed, plotted, and funded the creation of masterpieces right alongside the author's family.From the Hardcover edition.
The complete text of the landmark Supreme Court decision on marriage equality The 2015 Supreme Court decision Obergefell et al. v. Hodges legalized gay marriage across the United States. This edition collects the widely quoted decision by Justice Kennedy, as well as the dissents of Justices Roberts, Scalia, Thomas, and Alito. Of tremendous interest to general readers and students of American history, The U.S. Supreme Court Decision on Marriage Equality is a milestone in the history of human and civil rights. It is an essential document of our times.From the Trade Paperback edition.
During the Middle Ages in Europe, some sexual and gendered behaviors were labeled "sodomitical" or evoked the use of ambiguous phrases such as the "unmentionable vice" or the "sin against nature. " How, though, did these categories enter the field of vision? How do you know a sodomite when you see one? In Seeing Sodomy in the Middle Ages, Robert Mills explores the relationship between sodomy and motifs of vision and visibility in medieval culture, on the one hand, and those categories we today call gender and sexuality, on the other. Challenging the view that ideas about sexual and gender dissidence were too confused to congeal into a coherent form in the Middle Ages, Mills demonstrates that sodomy had a rich, multimedia presence in the period--and that a flexible approach to questions of terminology sheds new light on the many forms this presence took. Among the topics that Mills covers are depictions of the practices of sodomites in illuminated Bibles; motifs of gender transformation and sex change as envisioned by medieval artists and commentators on Ovid; sexual relations in religious houses and other enclosed spaces; and the applicability of modern categories such as "transgender," "butch" and "femme," or "sexual orientation" to medieval culture. Taking in a multitude of images, texts, and methodologies, this book will be of interest to all scholars, regardless of discipline, who engage with gender and sexuality in their work.
Duhem's 1908 essay questions the relation between physical theory and metaphysics and, more specifically, between astronomy and physics-an issue still of importance today. He critiques the answers given by Greek thought, Arabic science, medieval Christian scholasticism, and, finally, the astronomers of the Renaissance.
American environmentalism is defined by its icons: the "Crying Indian," who shed a tear in response to litter and pollution; the cooling towers of Three Mile Island, site of a notorious nuclear accident; the sorrowful spectacle of oil-soaked wildlife following the ExxonValdez spill; and, more recently, Al Gore delivering his global warming slide show in An Inconvenient Truth. These images, and others like them, have helped make environmental consciousness central to American public culture. Yet most historical accounts ignore the crucial role images have played in the making of popular environmentalism, let alone the ways that they have obscured other environmental truths. Finis Dunaway closes that gap with Seeing Green. Considering a wide array of images--including pictures in popular magazines, television news, advertisements, cartoons, films, and political posters--he shows how popular environmentalism has been entwined with mass media spectacles of crisis. Beginning with radioactive fallout and pesticides during the 1960s and ending with global warming today, he focuses on key moments in which media images provoked environmental anxiety but also prescribed limited forms of action. Moreover, he shows how the media have blamed individual consumers for environmental degradation and thus deflected attention from corporate and government responsibility. Ultimately, Dunaway argues, iconic images have impeded efforts to realize--or even imagine--sustainable visions of the future. Generously illustrated, this innovative book will appeal to anyone interested in the history of environmentalism or in the power of the media to shape our politics and public life.
Neither Donkey nor Horse tells the story of how Chinese medicine was transformed from the antithesis of modernity in the early twentieth century into a potent symbol of and vehicle for China's exploration of its own modernity half a century later. Instead of viewing this transition as derivative of the political history of modern China, Sean Hsiang-lin Lei argues that China's medical history had a life of its own, one that at times directly influenced the ideological struggle over the meaning of China's modernity and the Chinese state. Far from being a remnant of China's premodern past, Chinese medicine in the twentieth century coevolved with Western medicine and the Nationalist state, undergoing a profound transformation--institutionally, epistemologically, and materially--that resulted in the creation of a modern Chinese medicine. This new medicine was derided as "neither donkey nor horse" because it necessarily betrayed both of the parental traditions and therefore was doomed to fail. Yet this hybrid medicine survived, through self-innovation and negotiation, thus challenging the conception of modernity that rejected the possibility of productive crossbreeding between the modern and the traditional. By exploring the production of modern Chinese medicine and China's modernity in tandem, Lei offers both a political history of medicine and a medical history of the Chinese state.
Through his columns in the New York Times and his numerous best-selling books, Stanley Fish has established himself as our foremost public analyst of the fraught intersection of academia and politics. Here Fish for the first time turns his full attention to one of the core concepts of the contemporary academy: academic freedom. Depending on who's talking, academic freedom is an essential bulwark of democracy, an absurd fig leaf disguising liberal agendas, or, most often, some in-between muddle that both exaggerates its own importance and misunderstands its actual value to scholarship. Fish enters the fray with his typical clear-eyed, no-nonsense analysis. The crucial question, he says, is located in the phrase #147;academic freedom" itself: Do you emphasize #147;academic" or #147;freedom"? The former, he shows, suggests a limited, professional freedom, while the conception of freedom implied by the latter could expand almost infinitely. Guided by that distinction, Fish analyzes various arguments for the value of academic freedom: Is academic freedom a contribution to society's common good? Does it authorize professors to critique the status quo, both inside and outside the university? Does it license and even require the overturning of all received ideas and policies? Is it an engine of revolution? Are academics inherently different from other professionals? Or is academia just a job, and academic freedom merely a tool for doing that job? No reader of Fish will be surprised by the deftness with which he dismantles weak arguments, corrects misconceptions, and clarifies muddy arguments. And while his conclusion#151;that academic freedom is simply a tool, an essential one, for doing a job#151;may surprise, it is unquestionably bracing. Stripping away the mystifications that obscure academic freedom allows its beneficiaries to concentrate on what they should be doing: following their intellectual interests and furthering scholarship.
Harking from the golden age of fiction set in American suburbia--the school of John Updike and Cheever--this work from the great American humorist Peter De Vries looks with laughter upon its lawns, its cocktails, and its slightly unreal feeling of comfort. A manic epic, "Reuben, Reuben" is really three books in one, tied together by a 1950s suburban Connecticut setting and hyper-literate cast of characters. A corruptible chicken farmer fearful for the fate of his beloved town, a womanizing poet from Wales (Dylan Thomas in disguise), and a hapless British poet-cum-actor-and-agent all take turns as narrator, revealing different, even conflicting views. But alcoholism, sexism, small-mindedness, and calamity challenge the high spirits of De Vries's well-read suburbanites. Noted as much for his verbal fluidity and wordplay as for his ability to see humor through pain, De Vries will delight both new readers and old in this uproarious modern masterpiece.
Harking from the golden age of fiction set in American suburbia--the school of John Updike and Cheever--this work from the great American humorist Peter De Vries looks with laughter upon its lawns, its cocktails, and its slightly unreal feeling of comfort. Without a Stitch in Time, a selection of forty-six articles and stories written for the New Yorker between 1943 and 1973, offers pun-filled autobiographical vignettes that reveal the source of De Vries's nervous wit: the cognitive dissonance between his Calvinist upbringing in 1920s Chicago and the all-too-perfect postwar world. Noted as much for his verbal fluidity and wordplay as for his ability to see humor through pain, De Vries will delight both new readers and old in this uproarious modern masterpiece.
George Herbert Mead is a foundational figure in sociology, best known for his book "Mind, Self, and Society," which was put together after his death from course notes taken by stenographers and students and from unpublished manuscripts. Mead, however, never taught a course primarily housed in a sociology department, and he wrote about a wide variety of topics far outside of the concerns for which he is predominantly rememberedOCoincluding experimental and comparative psychology, the history of science, and relativity theory. a In short, he is known in a discipline in which he did not teach for a book he did not write. In" Becoming Mead," Daniel R. Huebner traces the ways in which knowledge has been produced by and about the famed American philosopher. Instead of treating MeadOCOs problematic reputation as a separate topic of study from his intellectual biography, Huebner considers both biography and reputation as social processes of knowledge production. He uses Mead as a case study and provides fresh new answers to critical questions in the social sciences, such as how authors come to be considered canonical in particular disciplines, how academics understand and use othersOCO works in their research, and how claims to authority and knowledge are made in scholarship. "Becoming Mead" provides a novel take on the history of sociology, placing it in critical dialogue with cultural sociology and the sociology of knowledge and intellectuals. "
The verb OC declutterOCO has not yet made it into thea"Oxford English Dictionary," but its ever-increasing usage suggests that itOCOs only a matter of time. Articles containing tips and tricks on how to get organized cover magazine pages and pop up in TV programs and commercials, while clutter professionals and specialists referred to as OC clutterologistsOCO are just a phone call away. Everywhere the sentiment is the same: clutter is bad. Ina"The Hoarders," Scott Herring provides an in-depth examination of how modern hoarders came into being, from their onset in the late 1930s to the present day. He finds that both the idea of organization and the role of the clutterologist are deeply ingrained in our culture, and that there is a fine line between clutter and deviance in America. Herring introduces us to Jill, whose countertops are piled high with decaying food and whose cabinets are overrun with purchases, while the fly strips hanging from her ceiling are arguably more fly than strip. When Jill spots a decomposing pumpkin about to be jettisoned, she stops, seeing in the rotting, squalid vegetable a special treasure. OC IOCOve never seen one quite like this before, OCO she says, and looks to see if any seeds remain. It is from moments like these that Herring builds his questions: What counts as an acceptable material lifeOCoand who decides? Is hoarding some sort of inherent deviation of the mind, or a recent historical phenomenon grounded in changing material cultures? Herring opts for the latter, explaining that hoarders attract attention not because they are mentally ill but because they challenge normal modes of material relations. Piled high with detailed and, at times, disturbing descriptions of uncleanliness, a"The Hoarders"adelivers a sweeping and fascinating history of hoarding that will cause us all to reconsider how we view these accumulators of clutter. "
How old are you? The more thought you bring to bear on the question, the harder it is to answer. For we age simultaneously in different ways: biologically, psychologically, socially. And we age within the larger framework of a culture, in the midst of a history that predates us and will outlast us. Looked at through that lens, many aspects of late modernity would suggest that we are older than ever, but Robert Pogue Harrison argues that we are also getting startlingly younger--in looks, mentality, and behavior. We live, he says, in an age of juvenescence. Like all of Robert Pogue Harrison's books, "Juvenescence" ranges brilliantly across cultures and history, tracing the ways that the spirits of youth and age have inflected each other from antiquity to the present. Drawing on the scientific concept of neotony, or the retention of juvenile characteristics through adulthood, and extending it into the cultural realm, Harrison argues that youth is essential for culture's innovative drive and flashes of genius. At the same time, however, youth--which Harrison sees as more protracted than ever--is a luxury that requires the stability and wisdom of our elders and the institutions. "While genius liberates the novelties of the future," Harrison writes, "wisdom inherits the legacies of the past, renewing them in the process of handing them down. " A heady, deeply learned excursion, rich with ideas and insights, "Juvenescence" could only have been written by Robert Pogue Harrison. No reader who has wondered at our culture's obsession with youth should miss it.
A beautifully packaged gift edition of Obergefell et al. v. Hodges, Justice Anthony Kennedy's landmark Supreme Court decision on marriage equality A milestone in the history of American civil and human rights, Obergefell et al. v. Hodges legalized gay marriage across the United States. A powerful testament to the progress of human and civil rights, The U.S. Supreme Court Decision on Marriage Equality is an essential document of our times.From the Hardcover edition.
Ever since The Night in Question left her with a hideous scar and no memory of what happened, Theo Lane has been hiding. An aspiring filmmaker, she uses a hidden button cam to keep the world at bay. She spends the entire summer in a Manhattan café, secretly documenting random "subjects."Once school starts, Theo finds her best friend has morphed into a flirtatious, short-skirt-clad stranger. Everyone ignores the scar. As if that will make it go away. The café remains her lunchtime refuge.Her most interesting subject is the Lost Boy, a stranger who comes in every day at the same time. When she finally gets up the courage to talk to him she discovers why: the Lost Boy, Andy, is waiting for someone who said she'd meet him there . . . four days ago. Intoxicated by Andy's love for this mystery girl, Theo agrees to help him find her, and her unhealthy obsession pulls her into a perilous, mind-bending journey. But is it really Andy's world she's investigating? Or is it her own?From the Hardcover edition.
Spring 1915: World War One rages across Europe, and the British Empire is assailed on all fronts--domestic and abroad. Amidst this bloodbath of nations, where one man's flag is another man's shroud, a British spy is asked to do the impossible: seduce and betray the woman he loves, again. Only this time betrayal is a two-way street.Jack McColl, a spy for His Majesty's Secret Service, is stationed in India, charged with defending the Empire against Bengali terrorists and their German allies. Belgium, he finds, is not the only country seeking to expel an invader.In England, meanwhile, suffragette journalist Caitlin Hanley begins the business of rebuilding her life after the execution of her brother--an IRA sympathizer whose terrorist plot was foiled by Caitlin's own ex-lover, the very same Jack McColl. The war is changing everything and giving fresh impulse to those causes--feminism, socialism and Irish independence--which she as a journalist has long supported.The threat of a Rising in Dublin alarms McColl's bosses as much as it dazzles Caitlin. If another Irish plot brings them back together, will it be as enemies or lovers?
It's 1907 Los Angeles. Mischievous socialite Anna Blanc is the kind of young woman who devours purloined crime novels--but must disguise them behind covers of more domestically-appropriate reading. She could match wits with Sherlock Holmes, but in her world women are not allowed to hunt criminals. Determined to break free of the era's rigid social roles, Anna buys off the chaperone assigned by her domineering father and, using an alias, takes a job as a police matron with the Los Angeles Police Department. There she discovers a string of brothel murders, which the cops are unwilling to investigate. Seizing her one chance to solve a crime, she takes on the investigation herself. If the police find out, she'll get fired; if her father finds out, he'll disown her; and if her fiancé finds out, he'll cancel the wedding and stop pouring money into her father's collapsing bank. Midway into her investigation, the police chief's son, Joe Singer, learns her true identity. And shortly thereafter she learns about blackmail.Anna must choose--either hunt the villain and risk losing her father, fiancé, and wealth, or abandon her dream and leave the killer on the loose.From the Trade Paperback edition.
The first Gareth and Adele Novel, The Geomancer is the start of an ongoing, character-based, urban fantasy series set in the same Vampire Empire universe as the authors' previous trilogy!The uneasy stalemate between vampires and humans is over. Adele and Gareth are bringing order to a free Britain, but bloody murders in London raise the specter that Adele's geomancy is failing and the vampires might return. A new power could tilt the balance back to the vampire clans. A deranged human called the Witchfinder has surfaced on the Continent, serving new vampire lords. This geomancer has found a way to make vampires immune to geomancy and intends to give his masters the ability to kill humans on a massive scale.The apocalyptic event in Edinburgh weakened Adele's geomantic abilities. If the Witchfinder can use geomancy against humanity, she may not have the power to stop him. If she can't, there is nowhere beyond his reach and no one he cannot kill.From a Britain struggling to rebuild to the vampire capital of Paris, from the heart of the Equatorian Empire to a vampire monastery in far-away Tibet, old friends and past enemies return. Unexpected allies and terrible new villains arise. Adele and Gareth fight side-by-side as always, but they can never be the same if they hope to survive.From the Trade Paperback edition.
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