About 200 corpses counted from the train. Large steamship stranded two miles inland. Nothing could be seen of Galveston. Loss of life and property undoubtedly most appalling. Weather clear and bright here with gentle southeast wind.” – G.L. Vaughan, Manager of Western Union in Houston, in a telegram to the Chief of the U.S. Weather Bureau on the day after the hurricane. In 2005, the world watched in horror as Hurricane Katrina decimated New Orleans, and the calamity seemed all the worse because many felt that technology had advanced far enough to prevent such tragedies, whether through advanced warning or engineering. At the same time, that tends to overlook all of the dangers posed by hurricanes and other phenomena that produce natural disasters. After all, storms and hurricanes have been wiping out coastal communities ever since the first humans built them. As bad as Hurricane Katrina was, the hurricane that struck Galveston, Texas on September 8, 1900 killed several times more people, with an estimated death toll between 6,000-12,000 people. Prior to advanced communications, few people knew about impending hurricanes except those closest to the site, and in the days before television, or even radio, catastrophic descriptions were merely recorded on paper, limiting an understanding of the immediate impact. Stories could be published after the water receded and the dead were buried, but by then, the immediate shock had worn off and all that remained were the memories of the survivors. Thus, it was inevitable that the Category 4 hurricane wrought almost inconceivable destruction as it made landfall in Texas with winds at 145 miles per hour. It was only well into the 20th century that meteorologists began to name storms as a way of distinguishing which storm out of several they were referencing, and it seems somewhat fitting that the hurricane that traumatized Galveston was nameless. Due to the lack of technology and warning, many of the people it killed were never identified, and the nameless corpses were eventually burned in piles of bodies that could not be interred due to the soggy soil. Others were simply buried at sea. The second deadliest hurricane in American history claimed 2,500 lives, so it’s altogether possible that the Galveston hurricane killed over 4 times more than the next deadliest in the U.S. To this day, it remains the country’s deadliest natural disaster. The Galveston Hurricane of 1900 chronicles the story of the deadliest hurricane in American history. Along with pictures of important people, places, and events, you will learn about the Galveston Hurricane like never before, in no time at all.

    The truth about that summer, no one else knows.In the summer of 1862, a group of young artists led by the passionate and talented Edward Radcliffe descends upon Birchwood Manor on the banks of the Upper Thames. Their plan: to spend a secluded summer month in a haze of inspiration and creativity. But by the time their stay is over, one woman has been shot dead while another has disappeared; a priceless heirloom is missing; and Edward Radcliffe’s life is in ruins.Over one hundred and fifty years later, Elodie Winslow, a young archivist in London, uncovers a leather satchel containing two seemingly unrelated items: a sepia photograph of an arresting-looking woman in Victorian clothing, and an artist’s sketchbook containing the drawing of a twin-gabled house on the bend of a river.Why does Birchwood Manor feel so familiar to Elodie? And who is the beautiful woman in the photograph? Will she ever give up her secrets?

    BUT THE KINGPIN BEHIND LUCAS’S CRIMINAL REIGN, LEROY “NICKY†BARNES, REMAINED “MR. UNTOUCHABLE.†UNTIL ONE UNDERCOVER AGENT PROVED TOUGH ENOUGH—OR CRAZY ENOUGH—TO INFILTRATE HIS DOMAIN AND NAIL THE MOST DANGEROUS DRUG CZAR IN AMERICAN HISTORY. Growing up in Red Hook, Brooklyn, where physical violence was a daily reality at home, at school, and on the streets, Louis Diaz had what it took to survive—and to one day become what he vowed to be: a man of uncompromising principles who is “compassionate on the inside, fierce on the outside.†These were the qualities, along with his street fighter’s steely nerves and hair-trigger temper, that drove Diaz from his savage beginnings and early forays in organized crime to become one of the DEA’s bravest undercover agents—the man who was instrumental in tak­ing down some of the nation’s and the world’s most notorious crime rings. In an unforgettable and utterly engaging first-person narrative, Diaz tells his gritty, colorful, painful, and even humorous life story—a story with all the raw emotional power and bare-knuckle action of Wiseguy or Serpico. From his headline-making cases of Nicky Barnes and the Medellín cartel . . . to his account of outwitting a key villain linked to the record-breaking heist known as The Great English Train Robbery . . . to his all-out confrontations with murderous gunrunners and drug dealers on the mean streets of New York . . . to leading commando raids on clan-destine cocaine labs inside the Bolivian jungles, Dancing with the Devil is an explosive memoir that stands as a classic of true-crime literature.

    Following their father's sudden death, the van Goethem sisters find their lives upended. Without his wages, and with the small amount their laundress mother earns disappearing into the absinthe bottle, eviction from their lodgings seems imminent. With few options for work, Marie is dispatched to the Paris Opéra, where for a scant seventeen francs a week, she will be trained to enter the famous ballet. Her older sister, Antoinette, finds work as an extra in a stage adaptation of Émile Zola's naturalist masterpiece L'Assommoir. Marie throws herself into dance and is soon modeling in the studio of Edgar Degas, where her image will forever be immortalized as Little Dancer Aged Fourteen. There she meets a wealthy male patron of the ballet, but might the assistance he offers come with strings attached? Meanwhile Antoinette, derailed by her love for the dangerous Émile Abadie, must choose between honest labor and the more profitable avenues open to a young woman of the Parisian demimonde. Set at a moment of profound artistic, cultural, and societal change, The Painted Girls is a tale of two remarkable sisters rendered uniquely vulnerable to the darker impulses of "civilized society." In the end, each will come to realize that her salvation, if not survival, lies with the other.

    'Wonderfully imaginative' Bernard Cornwell, author of The Last Kingdom. Perfect for fans of Simon Scarrow and Bernard Cornwell.James Keane - card sharp and ladies' man - is one of the finest soldiers of Wellington's army. Keane - hot-tempered, a maverick, never quite accepted by his fellow officers - is in trouble for killing his man in a duel: an activity forbidden by Wellington. To avoid court martial, he takes on an unwelcome assignment: to form an ill-assorted bunch of reprobates into an elite unit capable of operating behind the lines. A nineteenth-century Dirty Dozen.

    Virginia Loftin knows what she wants most: to become a celebrated novelist despite her gender, and to marry Charlie, her best friend, neighbor and first love. Yet when Charlie proposes to another woman, Ginny is devastated; shutting out her family, she holes up and obsessively rewrites how their story should have gone.Though Ginny works with newfound intensity, success eludes her—until she attends a salon hosted in her brother’s handsome author friend John’s Fifth Avenue mansion. Amongst painters, musicians, actors, and writers, Ginny returns to herself, even blooming under John’s increasingly romantic attentions. Just as she has begun to forget Charlie, however, he throws himself back into her path, and Ginny finds herself torn between a lifetime’s worth of complicated feelings and a budding relationship with a man who seems almost too good to be true.The brightest lights cast the darkest shadows, and as Ginny tentatively navigates the Society’s world, she begins to suspect all is not as it seems in New York’s dazzling “Gay Nineties” scene. When a close friend is found dead in John’s mansion, Ginny must delve into her beloved salon’s secrets to discover her true feelings about art, family, and love.

    Heartbroken, Aimée tries to find him, but Henri doesn’t want to be found—and only one member of the family knows why.As Aimée seeks refuge in the art world, mentored by the Impressionist Édouard Manet, she unwittingly finds her way back to Henri. With so many years gone by and secrets buried, their eventual reunion unmasks the lies that once held the family together, but now threaten to tear them apart.A rich and opulent saga, Girl in the Afternoon brings the Impressionists to life in this portrait of scandal, fortune, and unrequited love.

    Granddaughter of a local hero, Mercy Bennington moves out of the shadow of her elder brother to become a leader of the protestors, finding the strength to confront the enemies who endanger the survival of her village and her own life. Yet the violence wreaked upon the fragile fenlands unleashes a force no one can control – flood.

    But behind the scenes in his New York studio is the freethinking Clara Driscoll, head of his women’s division. Publicly unrecognized by Tiffany, Clara conceives of and designs nearly all of the iconic leaded-glass lamps for which he is long remembered.Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman, which ultimately force her to protest against the company she has worked so hard to cultivate. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces to a strict policy: he does not hire married women, and any who do marry while under his employ must resign immediately. Eventually, like many women, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.

    But back on firm ground, their vastly different social strata become clear. Cait is a widow who because of her precarious financial situation is forced to chaperone two wealthy Scottish charges. Émile is expected to take on the bourgeois stability of his family's business and choose a suitable wife. As the Eiffel Tower rises, a marvel of steel and air and light, the subject of extreme controversy and a symbol of the future, Cait and Émile must decide what their love is worth. Seamlessly weaving historical detail and vivid invention, Beatrice Colin evokes the revolutionary time in which Cait and Émile live - one of corsets and secret trysts, duels and Bohemian independence, strict tradition and Impressionist experimentation. To Capture What We Cannot Keep, stylish, provocative, and shimmering, raises probing questions about a woman's place in that world, the overarching reach of class distinctions, and the sacrifices love requires of us all.

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    As they move in next door to the radical painter/poet William Blake, and take up work for a near-by circus impresario, the youngest family member gets to know a girl his age. Embodying opposite characteristics — Maggie Butterfield is a dark-haired, streetwise extrovert, Jem Kellaway a quiet blond introvert — the children form a strong bond while getting to know their unusual neighbor and his wife.Set against the backdrop of a city nervous of the revolution gone sour across the Channel in France, Burning Bright explores the states of innocence and experience just as Blake takes on similar themes in his best-known poems, Songs of Innocence and of Experience.

    Out of this emerged, Napoleon Bonaparte, commander of the revolutionary army, who would conquer Italy and Egypt before returning to Paris to proclaim himself Emperor. As Napoleon gained power in France, the world stood on the brink of total war. By 1805 the General Napoleon was making plans to cross the channel and invade England. The subsequent drama reaches from the frozen plains surrounding Moscow to the Caribbean waters, from the debating chamber of the Parliament to the muddy fields of Waterloo. The Great French Wars (1793-1815) can truly be called the first global war; and also the first conflict driven by industrial might. Mostly, it was a battle between commanders that history will never forget; as Napoleon's revolutionary guard ravaged Europe, men like the Duke of Wellington, Horatio Nelson, and their allies, stopped Napoleon's complete domination of the continent.

    Martin Luther King, Jr.

    When renowned painter Robert Oliver attacks a canvas in the National Gallery of Art and becomes his patient, Marlow finds that order destroyed. Desperate to understand the secret that torments the genius, he embarks on a journey that leads him into the lives of the women closest to Oliver and a tragedy at the heart of French Impressionism. Kostova's masterful new novel travels from American cities to the coast of Normandy, from the late 19th century to the late 20th, from young love to last love. The Swan Thieves is a story of obsession, history's losses, and the power of art to preserve human hope.