It is the timeless story of a young Marine lieutenant, Waino Mellas, and his comrades in Bravo Company, who are dropped into the mountain jungle of Vietnam as boys and forced to fight their way into manhood. Standing in their way are not merely the North Vietnamese but also monsoon rain and mud, leeches and tigers, disease and malnutrition. Almost as daunting, it turns out, are the obstacles they discover between each other: racial tension, competing ambitions, and duplicitous superior officers. But when the company finds itself surrounded and outnumbered by a massive enemy regiment, the Marines are thrust into the raw and all-consuming terror of combat. The experience will change them forever.Written over the course of thirty years by a highly decorated Vietnam veteran, Matterhorn is a visceral and spellbinding novel about what it is like to be a young man at war. It is an unforgettable novel that transforms the tragedy of Vietnam into a powerful and universal story of courage, camaraderie, and sacrifice: a parable not only of the war in Vietnam but of all war, and a testament to the redemptive power of literature.A graduate of Yale University and a Rhodes Scholar at Oxford University, Karl Marlantes served as a Marine in Vietnam, where he was awarded the Navy Cross, the Bronze Star, two Navy Commendation Medals for valor, two Purple Hearts, and ten air medals. This is his first novel. He lives in rural Washington State.

    In both their cases, it was to be rock stars. Fifteen years later, their mid-thirties are bearing down fast, and just like everybody else, they're having to accept the less glamorous hands reality has dealt them. Nervous new father Ray takes refuge from his responsibilities by living a virtual existence in online games. People say he needs to grow up, but everybody has to find their own way of coping. For some it's affairs, for others it's the bottle, and for Simon it's serial murder, mass slaughter and professional assassination.

    Each story is a dramatisation of the instant in a life that exposes it all: love and the lack of love, hope and the lack of hope.

    The sheer number and proximity of works of painting, sculpture, and architecture in Florence can be so overwhelming that Florentine hospitals treat hundreds of visitors each year for symptoms brought on by trying to see them all, an illness famously identified with the French author Stendhal.While most guidebooks offer only brief descriptions of a large number of works, with little discussion of the historical background, Judith Testa gives a fresh perspective on the rich and brilliant art of the Florentine Renaissance in An Art Lover’s Guide to Florence. Concentrating on a number of the greatest works, by such masters as Botticelli and Michelangelo, Testa explains each piece in terms of what it meant to the people who produced it and for whom they made it, deftly treating the complex interplay of politics, sex, and religion that were involved in the creation of those works. With Testa as a guide, armchair travelers and tourists alike will delight in the fascinating world of Florentine art and history.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    From the first descent of the larynx into the throat (why you can talk but your dog can't), to the fine lost art of swearing, Bryson tells the fascinating, often uproarious story of an inadequate, second-rate tongue of peasants that developed into one of the world's largest growth industries.

    Three extraordinary people begin their life together, a life that will be full of drama, transformation, passionate and painful devotion to art and to one another. Henry Irving, the Chief, is the volcanic leading man and impresario; Ellen Terry is the most lauded and desired actress of her generation, outspoken and generous of heart; and ever following along behind them in the shadows is the unremarkable theatre manager, Bram Stoker. Fresh from life in Dublin as a clerk, Bram may seem the least colourful of the trio but he is wrestling with dark demons in a new city, in a new marriage, and with his own literary aspirations. As he walks the London streets at night, streets haunted by the Ripper and the gossip which swirls around his friend Oscar Wilde, he finds new inspiration. But the Chief is determined that nothing will get in the way of his manager's devotion to the Lyceum and to himself. And both men are enchanted by the beauty and boldness of the elusive Ellen. This exceptional novel explores the complexities of love that stands dangerously outside social convention, the restlessness of creativity, and the experiences that led to Dracula, the most iconic supernatural tale of all time.

    This is where the 72,444 words of my latest book are cooked down to fit this space. But how does one do that? Do you reveal pivotal plot points like the one at the end of the book where the little girl on crutches points an accusing finger and shouts, The killer is Mr. Potter?I have too much respect for you as an attention-deficient consumer to attempt such an obvious ruse. But let's not play games here. You picked up the book already, so you either: A. Know who I am B. Liked the cool smoking jacket I'm wearing on the coverC. Have just discovered that the bookstore restroom is out of toilet paper Is it a sequel to my autobiography If Chins Could Kill: Confessions of a B Movie Actor? Sadly, no, which made it much harder to write. According to my publisher, I haven't done enough since 2001 to warrant another memoir. Is it an autobiographical novel? Yes. I'm the lead character in the story, and I'm a real person, and everything in the book actually happened, except for the stuff that didn't. The action revolves around my preparations for a pivotal role in the A-list relationship film Let's Make Love! But my Homeric attempt to break through the glass ceiling of B-grade genre fare is hampered by a vengeful studio executive and a production that becomes infected by something called the B movie virus, symptoms of which include excessive use of cheesy special effects, slapstick, and projectile vomiting. From a violent fistfight with a Buddhist to a life-altering stint in federal prison, this novel has it all. And if the 72,444 words are too time-consuming, there are lots and lots of cool graphics.Regards, Bruce Don't Call Me Ash CampbellPraise for Make Love the Bruce Campbell WayIt's a great, goofy what-if.---Entertainment WeeklyUltimately, Make Love is a Bruce Campbell novel, starring Bruce Campbell, written for Bruce Campbell fans for whom Bruce Campbell can do no wrong. They'll no doubt find Campbell's latest endeavor nothing short of---to quote one of his most famous characters---groovy.---The OnionOne of the most delightfully deranged experiences you'll have reading this year. Hail to the king, baby.---Rue Morgue

    A few weeks after the planes crashed into the World Trade Center on 9/11, journalist Megan K. Stack, a twenty-five-year-old national correspondent for the "Los Angeles Times," was thrust into Afghanistan and Pakistan, dodging gunmen and prodding warlords for information. From there, she traveled to war-ravaged Iraq and Lebanon and other countries scarred by violence, including Israel, Egypt, Libya, and Yemen, witnessing the changes that swept the Muslim world and laboring to tell its stories. "Every Man in This Village Is a Liar" is Megan K. Stack's riveting account of what she saw in the combat zones and beyond. She relates her initial wild excitement and her slow disillusionment as the cost of violence outweighs the elusive promise of freedom and democracy. She reports from under bombardment in Lebanon; records the raw pain of suicide bombings in Israel and Iraq; and, one by one, marks the deaths and disappearances of those she interviews. Beautiful, savage, and unsettling, "Every Man in This Village Is a Liar" is a memoir about the wars of the twenty-first century that readers will long remember.

    Each guide also offers students fresh critical insights and provides a practical introduction to close reading and to analysing literary language and form. They provide up-to-date, authoritative but accessible guides to the most commonly studied classic texts.Chinua Achebe's remarkable novel Things Fall Apart (1958) is probably the best known African novel and has become one of the world's most influential literary masterpieces. Since publication, a total of nearly 12 million copies have been sold, with translations into more than 50 languages. Despite its undoubted success, its apparent simplicity has tended to blind readers to the dazzling storytelling resources and the inventive language, plot, setting, and characterization which first draw them to the novel and keep them reading. This is the ideal guide to the text, setting Things Fall Apart in its historical, intellectual and cultural contexts, offering analyses of its themes, style and structure, providing exemplary close readings, presenting an up-to-date account of its critical reception and examining its afterlife in literature, film and popular culture. It includes points for discussion, suggestions for further study and an annotated guide to relevant reading.

    But the tag that really fits is Hitter. “A riveting retrospective” (Baseball americanca). Index; career statistics; photographs.

    The photo is a perfect tribute to the fun, irreverent brand of pop music that the Go-Go’s created, but it also conceals the trials and secret demons that the group—and, in particular, Belinda Carlisle—struggled with. Leaving her unstable childhood home at the age of eighteen, Belinda battled serious weight issues and grappled with her confusion about being deserted by her biological father. This talented but misguided teen found solace in the punk rock world that so openly welcomed misfits—even though acceptance had its price.Not long after forming, the Go-Go’s became queens of the L.A. punk scene. With a chart-topping debut album, Belinda found herself launched to international superstardom—and with that fame came more access to A-list parties, and even more alcohol and drugs to fuel Go-Go’s mania. Inevitably, Belinda began to self-destruct. This spellbinding and shocking look at her rise, fall, and eventual rebirth as a wife, mother, and sober artist will leave you wistfully fantasizing about the eighties decadence she epitomized, but also cringing at the dark despair hidden behind her charming smile. Lips Unsealed is ultimately a love letter to music and the story of a life that, though deeply flawed, was, and is still, fully lived.

    As the title suggests, 'Motherfoclóir' takes an irreverent, pun-friendly and contemporary approach to the Irish language. The translations are expanded on and arranged into broad categories that allow interesting connections to be made, and sprinkled with anecdotes and observations about Irish and Ireland itself, as well as language in general. The author includes stories about his own relationship with Irish, and how it fits in with the most important events in his life. This is a book for all lovers of the quirks of language.

    He misses the routine of the academic year and has lost his appetite for research. His wife Winifred’s late-flowering career goes from strength to strength, reducing his role to that of escort, while the rejuvenation of her appearance makes him uneasily conscious of the age gap between them. The monotony of his days is relieved only by wearisome journeys to London to check on his aged father who stubbornly refuses to leave the house he is patently unable to live in with safety.But these discontents are nothing compared to the affliction of hearing loss — a constant source of domestic friction and social embarrassment, leading Desmond into mistakes, misunderstandings and follies. It might be comic for others, but for the deaf person himself, it is no joke. It is his deafness which inadvertently involves Desmond with a young woman whose wayward behaviour threatens to destabilize his life completely.

    From musings on Ptolemy and "the force of the false" to reflections on the experimental writing of Borges and Joyce, Eco's luminous intelligence and encyclopedic knowledge are on dazzling display throughout. And when he reveals his own ambitions and superstitions, his authorial anxieties and fears, one feels like a secret sharer in the garden of literature to which he so often alludes. Remarkably accessible and unfailingly stimulating, this collection exhibits the diversity of interests and the depth of knowledge that have made Eco one of the world's leading writers. On some functions of literature --A reading of the Paradiso --On the style of The communist manifesto --The mists of the Valoi --Wilde : parados and aphorism --A portrait of the artist as bachelor --Between La Mancha and Babel --Borges and my anxiety of influence --On Camporesi : blood, body, life --On symbolism --On style --Les Semaphores sous la Pluie --The flaws in the form --Intertextual irony and levels of reading --The Poetics and us --The American myth in three anti-American generations --The power of falsehood --How I write