Chronicling the last few raucous years in American politics, Lithgow takes readers verse by verse through the history of Donald Trump's presidency.- Lampoons the likes of Betsy DeVos, William Barr, Rudy Giuliani, and dozens more.- Illustrated from cover to cover with Lithgow's never-before-seen line drawings.- Draws inspiration from A. A. Milne, Lewis Carroll, Edward Lear, and even Mother Goose.- Great for fans of A Very Stable Genius by Mike Luckovich, Win Bigly: Persuasion in a World Where Facts Don't Matter by Scott Adams, and The Donald J. Trump Presidential Twitter Library by The Daily Show with Trevor Noah.The poems collected in Dumpty draw inspiration from A. A. Milne, Lewis Carroll, Edward Lear, Rodgers and Hammerstein, Mother Goose, and many more. A feat of laugh-out-loud lyrical storytelling, this timely volume is bound to bring joy to poetry lovers, political junkies, and Lithgow fans alike.

    They are not piloted by Englishmen. They do not have nameplates saying "HAWKER SIDDELEY AVIATION." And they are never, ever filled with smuggled catering packs of Monster Munch.Britain has had a top secret colony in space for decades. Unfortunately, the colony has grown tired of being run by the mother country - and the mother country has decided it's time to send in the military. A war of independence is going on, and one man's rebel is another man's freedom fighter. Between these two sides are Anthony Stevens and Cleopatra Shakespeare, abducted from England and hurled into a war between Britain, America, and the newly, fiercely independent United States of the Zodiac. A black girl from Northampton is about to encounter the dystopian U.S. colony of New Dixie, where the Deep South lives again and the white man rules supreme - and both Ant and Cleo are about to discover that the Cold War never ended in outer space, and that the KGB are still alive and well out among the scarlet stars.All flying saucer technology comes from the Saucerers, but who are they? Where is the mysterious hidden colony of Gondolin? How did the United States of America come to have interstellar spacecraft in the 1950s? And who or what is Truman J. Slughound the Third? Find out in a series guaranteed to contain colour-changing aliens, Godless communists from Altair, rednecks from Barnard's Star, space fighters, rocket pistols, death by ecstasy, very bad hair, and more explosions than you can shake a stick at.

    A guide to the Nikon D3100 camera provides information on the camera's scene modes, composition, focus, lighting, and composition to take successful portraits and sports and landscape photographs.

    Sloat's Hotel Almighty is a book-length erasure of Misery by Stephen King, a reimagining of the novel's themes of constraint and possibility in elliptical, enigmatic poems. Here, "joy would crawl over broken glass, if that was the way." Here, sleep is “a circle whose diameter might be small," a circle "pitifully small," a "wrecked and empty hypothetical circle." Paired with Sloat's stunning mixed-media collage, each poem is a miniature canvas, a brief associative profile of the psyche―its foibles, obsessions, and delights.

    My name is Bryn Mathis. I'm seventeen years old, and I live in a neighborhood outside of Orlando, Florida. I’m here alone because my dad died almost a year ago, along with all the other adults in the world. I'm almost out of food, and the gangs of kids that roam around my town are getting more vicious by the day. It's time for me to leave and find another place to live ... a place where I can find food and shelter ... a place where they won't be able to find me. Alone, it might have been possible, but now I've got company. I'm worried that I don't have what it takes to get from here to my final destination, and I have no idea what might be waiting for me when I get there.

    Expanding the palette of contemporary surrealism while harkening back to the stories and prayers at the origin of poetry, DESTRUCTION MYTH is a series of absurdist myths of creation and destruction that are at times both inventively silly and surprisingly emotionally direct. This book attempts the world again and again, only to find that even the most ridiculous of creations contains the seeds of its own destruction.

    Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.

    Nox Pareidolia includes tales by Laird Barron, S.P. Miskowski, Brian Evenson, Gwendolyn Kiste, Micheal Wehunt, Kristi DeMeester, Christopher Ropes, Zin E. Rocklyn, Paul Jessup, Doungjai Gam, Don Webb and Duane Pesice, K.H. Vaughan, Alvaro Zinos-Amaro, and more yet to be announced!

    A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions.Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images such as Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.The book is arranged in nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life - the things people do. The photographs are not intended to illustrate the words, but the words act as a means of grouping and organizing, making broad connections and also playing with pun and ambiguity, in keeping with the visual games Erwitt plays.