It looked like something out of a movie--and, in a way, it was. The ship was the Bounty, a replica of a British merchant vessel of the same name whose crew famously mutinied in 1789. She had been built for a Marlon Brando film in the 1960s--and now she was sinking, her sixteen-person crew fleeing into the sea amid the splintered wood and torn canvas. Was the Bounty's sinking--which left her captain missing and one of her crew members dead--an unavoidable tragedy? Or was it the fault of a captain who was willing to risk everything to save the ship he loved? Drawing on exclusive interviews with Bounty survivors and Coast Guard rescuers, journalist Matthew Shaer reconstructs the ship's final voyage and the Coast Guard investigation into her sinking that followed, uncovering a riveting story of heroism and hubris in the eye of a hurricane. Praise for The Sinking of the Bounty:"Matthew Shaer masterfully recreates the last voyage and final doom of the Bounty, an iconic ship that collided with an historic storm off the Carolina coast. Shaer pulls you off the page and onto the Bounty itself--and then into the roiling sea--to relive a long night of terror, heroism and desperate quests for survival. The Sinking of the Bounty is a classic of the genre, beautifully told and riveting to read."—Sean Flynn, GQ correspondent and author of 3000 Degrees: The True Story of a Deadly Fire and the Men Who Fought It"Few images of Hurricane Sandy's destruction were as indelible, or as surreal, as the shattered wreck of the Bounty sinking beneath the waves of the 'Graveyard of the Atlantic.' Matthew Shaer's The Sinking of the Bounty is a powerful and riveting account of the disaster: the fateful decision to set sail before the storm, the crew's epic struggle to save the ship and then themselves, and the heroic rescue launched by the Coast Guard in the middle of the largest storm the Atlantic has ever seen. In the tradition of Sebastian Junger's The Perfect Storm, this is fast-paced and deeply reported storytelling."—Matthew Power, contributing editor, Harper's

    It's a lot like asking a woman who's just come home from a girls' dinner 'What did you talk about?'  The short answer?  Everything! When Mia Freedman talks, people listen. Perhaps not her husband. Or her children. But other people. Women. Mia has a knack for putting into words the dilemmas, delights and dramas of women everywhere. The new rules for dating in the internet-romance age? Yep, tricky stuff. Things are not what they used to be. And sex talk at the dinner table? Appropriate or not? Perhaps not, unless in an educational capacity and even then some things are best left unsaid . . . With intrepid curiosity and a delicious sense of humour, Mia navigates her way through the topics – great and small – of modern life.

    If we really do get the government we deserve, On Mutiny might provoke a civilian rebellion.

      The real-life scandals of Hollywood’s personalities rival any drama they bring to life on the silver screen. This book provides 365 daily doses of high and low crimes, fraud and deceit, culled from Tinseltown’s checkered past.   Whether it’s the exploits of silent-era star Fatty Arbuckle, the midcentury misdeeds of Frank Sinatra and Marilyn Monroe, or the modern excesses of Lindsay Lohan, this calendar of Hollywood transgressions has a sensational true tale for every day of the year. It’s an entertaining and sometimes shocking trip down memory lane filled with sneaky affairs, box-office bombs, and careers cut short—sometimes by murder. It shows that the drama doesn’t end when the credits roll.

    It's the finest work on the essence and ethics of hunting. Today when both hunting and fishing are often condemned, Meditations takes on an even greater significance. Ortega points out that life is a dynamic interchange between man and his surroundings. He explains that hunting is part of man's very nature, that "hunting is a universal and impassioned sport it is the purest form of human happiness. The essence of hunting or fishing involves a complete code of ethics of the most distinguished design. The sportsman who accepts the sporting code of ethics keeps his commandments in the greatest solitude with no witnesses or audience other than the sharp peaks of the mountain, the stern oak, and the passing animal." This important book of sporting literature belongs in the library of every sportsman. This edition is bound in rich cloth, on acid-free linen paper, with a silk ribbon and a handsome slipcase. Datus Proper, author of the acclaimed iWhat the Trout Said/i and iPheasants of the Mind/i, wrote a special introduction. Eldridge Hardie, one of today's foremost sporting artists, created the full-page illustrations especially for this edition.

    The script for his first movie took him four years to complete: My Best Friend’s Birthday, a seventy-minute film in which he both acted and directed. The script for his second film, Reservoir Dogs (1992), took him just under four weeks to complete. When it debuted, he was immediately hailed as one of the most exciting new directors in the industry. Known for his highly cinematic visual style, out-of-sequence storytelling, and grandiose violence, Tarantino’s films have provoked both praise and criticism over the course of his career. They’ve also won him a host of awards—including Oscars, Golden Globes, and BAFTA awards—usually for his original screenplays. His oeuvre includes the cult classic Pulp Fiction, bloody revenge saga Kill Bill Vol. 1 and Vol. 2, and historical epics Inglorious Basterds, Django Unchained, and The Hateful Eight . This stunning retrospective catalogs each of Quentin Tarantino’s movies in detail, from My Best Friend’s Birthday to The Hateful Eight. The book is a tribute to a unique directing and writing talent, celebrating an uncompromising, passionate director’s enthralling career at the heart of cult filmmaking.

    Filled with the sharp humor, emotional acuity, and joyful language Moore has become famous for, these nine glittering tales marked the introduction of an extravagantly gifted writer.

    Ghostly, sexy, and plaintive, these poems skip to the tune of a jump rope, fill a wishing well with desire and other trinkets, and they remember past lush lives in New York City, in rural Michigan, and in love. In the final poem, she sings of the four-legged girl, the body made strange to itself and to others. This collection establishes Seuss's poetic voice, as rich and emotional as any in contemporary poetry.

    Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives.Whether viewed psychoanalytically, institutionally, or ideologically, love is deemed always an outcome of fantasy. Without fantasy, there would be no love. Desire/Love takes us on a tour of all of the things that sentence might mean.

    He takes us from the set of The Big Bang Theory to the first novel of Ernest Hemingway to the final work of David Foster Wallace; from the films of Werner Herzog to the film of Tommy Wiseau to the editorial meeting in which Paula Fox's work was relaunched into the world. Originally published in magazines such as The Believer, The New Yorker, and Harper's, these essays represent ten years of Bissell's best writing on every aspect of creation—be it Iraq War documentaries or video-game character voices—and will provoke as much thought as they do laughter.What are sitcoms for exactly? Can art be both bad and genius? Why do some books survive and others vanish? Bissell's exploration of these questions make for gripping, unforgettable reading.

    This "Columbia Critical Guide" starts with extracts from Melville's own letters and essays and from early reviews of "Moby-Dick" that set the terms for later critical evaluations. Subsequent chapters deal with the "Melville Revival" of the 1920s and the novel's central place in the establishment, growth, and reassessment of American Studies in the 1940s and 1950s. The final chapters examine postmodern New Americanist readings of the text, and how these provide new models for thinking about American culture.

    While the series has surreal elements, he believes it provides the answers to all the questions which have confounded viewers: who is Number 6? Who runs The Village? Who—or what—is Number 1? According to Cox, the key is to view the series in the order in which the episodes were made, not in the order of the UK or US television screenings. In this book he does exactly that, and provides an entirely original and controversial “explanation” for what is perhaps the best, and certainly the most perplexing, TV series of all time.

    In this volume, stories from writers including Sylvia Plath and Ray Bradbury capture the tattoo experience.

    Whether you've watched "Casablanca" countless times or you're going to see it for the first time, "The Casablanca Companion" will both deepen your understanding and heighten your enjoyment.

    Combining close reading with a panoramic breadth of learning, Camille Paglia refreshes our understanding of poems we thought we knew, from Shakespeare’s “Sonnet 73” to Shelley’s “Ozymandias,” from Donne’s “The Flea” to Lowell’s “Man and Wife,” and from Dickinson’s “Because I Could Not Stop for Death” to Plath’s “Daddy.” Paglia also introduces us to less-familiar works by Paul Blackburn, Wanda Coleman, Chuck Wachtel, Rochelle Kraut–and even Joni Mitchell. Daring, riveting, and beautifully written, Break, Blow, Burn will excite even seasoned poetry lovers, and create a generation of new ones. Includes a new epilogue that details the selection process for choosing the 43 poems presented in this book and provides commentary on some of the pieces that didn't make the final cut.