The victims were Ebora Alexander, Dietra Alexander, Damani Garner, and Damon Bonner—the mother, sister, and nephews of retired All-Pro cornerback for the San Francisco 49ers Kermit Alexander. In his own words, Kermit Alexander finally shares the full story of what happened to his loved ones and the aftermath of that tragic day. He recounts the hours leading up to the massacre, and how afterward he lost himself in the LA underworld, pleading, bribing, and threatening in a search for answers. He describes his journey through the “wilderness” of despair—the years of isolation living out of his car, broke, depressed, and sick. We also learn about his coming-of-age in 1950s LA, the following decade he spent in the NFL, the events leading up to that fateful August day, and finally the shocking truth behind the murders. Kermit opens up about his darkest hours, but also what it took to turn his life around, rebuild his family, and ultimately find peace. Ominous and intense, powerful and uplifting, tragic and triumphant, The Valley of the Shadow of Death is more than a rendering of one man’s adversity; it’s testament to the value of family and the resilience of the human spirit in the face of overwhelming loss.

    It was the first time brothers had battled each other in this gladiatorial and quintessentially British tradition for over a hundred years. Only one could be victorious. In this book, David and James tell their stories for the first time, giving an intimate insight into one of our least understood but best-loved national sporting occasions. James, following in his family’s footsteps, is a student at St Catharine’s College, Cambridge, while David, wanting to escape his brother's shadow, joins Christ Church College at Oxford University. As the pair embark on training loads almost beyond endurance, their stories reveal the rivalries between these ancient and great institutions. Told in alternating narratives, Blood over Water is an emotional and searching joint self-portrait, and an account of a brotherly relationship tested to breaking point. David's fervent desire to beat his older brother pushes him on, but drives an impenetrable wedge between the siblings. As the race approaches they are unable even to speak to each other.It is only after the race, James wrestling with his final Cambridge exams, that they start to reconcile their shattered relationship, damaged by their pursuit of a shared dream.Not only a nail-biting drama for sports fans, Blood over Water also looks at the darker side of sibling rivalry and asks just what you would be willing to sacrifice to achieve your dreams.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    This volume contains writing from 1995 to 1998 on a variety of subjects, including the eating of sheep faces, Sin City, the ugliness of comics, the parallel world where comics legend Stan Lee dies in a horrific plumbing accident, how to write for comics, and why Michael Moorcock scares the hell out of him!

    She speaks honestly about issues of race, poverty, institutional responsibility, and white privilege by engaging the reader in the experiences of a day in the classroom with some of her remarkable students.Throughout the day, we meet bigotry head-on, struggle with questions of racial identity, and find cultural conflict in the corridors of the school building. Along the way, we come face to face with Tyrone, a young African-American student grappling with the realities of discrimination in suburbia. We encounter Sheila, a teenage mother struggling to raise her baby in poverty, and we get to know Sarah, a white girl living on the streets of Minneapolis.Through the author's eyes, we begin to understand the complexities of teaching in today's society and we learn within the pages of this book, if only just for a moment, what it feels like to be the other.

    Derek Attridge argues that such resistance represents not a dead end, but a crucial starting point from which to explore anew the power and practices of Western art.In this lively, original volume, the author:considers the implications of regarding the literary work as an innovative cultural event, both in its time and for later generations; provides a rich new vocabulary for discussions of literature, rethinking such terms as invention, singularity, otherness, alterity, performance and form; returns literature to the realm of ethics, and argues the ethical importance of the literary institution to a culture; demonstrates how a new understanding of the literary might be put to work in a 'responsible, ' creative mode of reading.The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic.

    Tolkien’s own fiction. For decades, hobbits and the other fantastical creatures of Middle-earth have captured the imaginations of a fiercely loyal tribe of readers, all enhanced by the immense success of Peter Jackson’s films: first The Lord of the Rings trilogy, and now his newest movie, The Hobbit. But for all Tolkien’s global fame and the familiarity of modern culture with Gandalf, Bilbo, Frodo, and Sam, the sources of the great mythmaker’s own myth-making have been neglected.  Mark Atherton here explores the chief influences on Tolkien’s work: his boyhood in the West Midlands; the landscapes and seascapes which shaped his mythologies; his experiences in World War I; his interest in Scandinavian myth; his friendships, especially with the other Oxford-based Inklings; and the relevance of his themes, especially ecological ones, to the present day.

    One was a celebrity at twenty-three, the other virtually unknown until his dying days. One was right-wing and religious, the other a socialist and an atheist. Yet, as this ingenious and important new book reveals, at the heart of their lives and writing, Evelyn Waugh and George Orwell were essentially the same man. Orwell is best known for Animal Farm and 1984, Waugh for Brideshead Revisited and comic novels like Scoop and Vile Bodies. However different they may seem, these two towering figures of twentieth-century literature are linked for the first time in this engaging and unconventional biography, which goes beyond the story of their amazing lives to reach the core of their beliefs–a shared vision that was startlingly prescient about our own troubled times.Both Waugh and Orwell were born in 1903, into the same comfortable stratum of England’s class-obsessed society. But at first glance they seem to have lived opposite lives. Waugh married into the high aristocracy, writing hilarious novels that captured the amoral time between the wars. He converted to Catholicism after his wife’s infidelity and their divorce. Orwell married a moneyless student of Tolkien’s who followed him to Barcelona, where he fought in the Spanish Civil War. She saved his life there–twice–but her own fate was tragic.Waugh and Orwell would meet only once, as the latter lay dying of tuberculosis, yet as The Same Man brilliantly shows, in their life and work both writers rebelled against a modern world run by a privileged, sometimes brutal, few. Orwell and Waugh were almost alone among their peers in seeing what the future–our time–would bring, and they dedicated their lives to warning us against what was coming: a world of material wealth but few values, an existence without tradition or community or common purpose, where lives are measured in dollars, not sense. They explained why, despite prosperity, so many people feel that our society is headed in the wrong direction. David Lebedoff believes that we need both Orwell and Waugh now more than ever.Unique in its insights and filled with vivid scenes of these two fascinating men and their tumultuous times, The Same Man is an amazing story and an original work of literary biography.

    Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today.We Should All Be Feminists A personal and powerful essay from Chimamanda Ngozi Adichie, the bestselling author of Americana and Half of a Yellow Sun.I would like to ask that we begin to dream about and plan for a different world. A fairer world. A world of happier men and happier women who are truer to themselves. And this is how to start: we must raise our daughters differently. We must also raise our sons differently.Dear Ijeawele, or a Feminist Manifesto in Fifteen Suggestions A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response. Here are fifteen invaluable suggestions–compelling, direct, wryly funny, and perceptive–for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

     What happens when a white girl flirts with the color lines and crosses the border into gang territory, where the bullets are in part real and the rules cannot be broken? JLove tells this incredible story inspired by her own remarkable life. Amber, a fearless white girl, has a passion for rap lyrics and an addiction to graffiti, but her journey begins when she becomes immersed in the power and grind of gang life after holding a gun to an innocent man's head during a robbery. That White Girl is a sharp and candid coming-of-age story, with hip-hop as its backdrop, that explores a young woman's struggles and triumphs as she crosses boundaries, discovers her own limits, and finds a new way to express herself in a world divided into black and white.

    They were helpless. It sounds like a familiar story, but these people were not African. They were Irish, and they were slaves before African slavery became widespread. This is their story.

    Norrie Epstein - whose The Friendly Shakespeare was called "spirited, informative and provocative" by The New York Times - strips away the polite veneer of Victorian society to reveal Dickens's life and times in all their squalor and glory, from his childhood days toiling in a blacking factory while his father languished in debtor's prison, to his first visit to the United States, where he was hailed as the greatest living writer. The Friendly Dickens includes an illuminating guide to all of Dickens's works and lively appreciations of characters both major and minor, interviews with aficionados from Patrick Stewart to biographer Phyllis Rose, eye-catching illustrations, copious quotations, a highly opinionated filmography and informative sidebars on almost every page.

    

    A leading spokesman for the English Aesthetic movement, Wilde promoted "art for art’s sake" against critics who argued that art must serve a moral purpose. On every page of this collection the gifted literary stylist admirably demonstrates not only that the characteristics of art are "distinction, charm, beauty, and imaginative power," but also that criticism itself can be raised to an art form possessing these very qualities.In the opening essay, Wilde laments the "decay of Lying as an art, a science, and a social pleasure." He takes to task modern literary realists like Henry James and Emile Zola for their "monstrous worship of facts" and stifling of the imagination. What makes art wonderful, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The next essay, "Pen, Pencil, and Poison," is a fascinating literary appreciation of the life of Thomas Griffiths Wainewright, a talented painter, art critic, antiquarian, friend of Charles Lamb, and — murderer.The heart of the collection is the long two-part essay titled "The Critic as Artist." In one memorable passage after another, Wilde goes to great lengths to show that the critic is every bit as much an artist as the artist himself, in some cases more so. A good critic is like a virtuoso interpreter: "When Rubinstein plays … he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely…made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience."Finally, in "The Truth of Masks," Wilde returns to the theme of art as artifice and creative deception. This essay focuses on the use of masks, disguises, and costume in Shakespeare.For newcomers to Wilde and those who already know his famous plays and fiction, this superb collection of his criticism offers many delights.The introduction is by Percival Pollard New York, July, 1905.

    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.