Jordan Wylie, a young man from a tough area of Blackpool where kids like him often went off the rails, chose a life in the army. He saw service in Iraq and learned to cope with the horrors he'd witnessed, then suffered an injury that blocked any chance of climbing up the military ladder. But an old army colleague suggested he join a security team on a tanker in Yemen. Ex-servicemen were offered dazzling salaries and `James Bond' lifestyles between jobs protecting the super-tankers carrying consumer goods to Europe and the US. However, for the men tempted to go, the price they paid was the claustrophobia and isolation of life on board and the ever-present possibility of death skimming towards them across the vast, lonely blue sea. Jordan was one of these men. In Citadel, he writes the first account of these dangerous years from someone 'at the front'. A young soldier from the backstreets of Blackpool, he was determined to make the most of his life, but unsure of the way forward. To his surprise, he found his answers in the perilous waters of 'Pirate Alley'.

    Kilkenny were beaten in that final by Tipperary but Tyrrell’s inner-most thoughts from his diary, both in the lead-up to, and after the game, provide the narrative to a compelling life story. His unique insights paint the picture of a relentless individual and a relentless team – the most successful side in the history of Irish male sport. The intrigue and aura around Kilkenny coach Brian Cody and his players was always heightened because very little ever emerged from the camp, or the dressing room. Now, for the first time, Tyrrell opens a unique window into the elite mindset and attitude which forged such unprecedented success. Tyrrell’s own journey is chronicled with brutal and unwavering honesty. The hurling legend’s constant drive to be a winner with his beloved county have pushed him towards breaking point many times. Tyrrell operates somewhere between obsessed and maniacal. On the pitch, he displayed the ruthless mentality of an assassin but behind it all, he had to conquer crippling self-doubt and fear. It took until his fourth successive All-Ireland final for Tyrrell to believe he had finally arrived as a senior inter-county hurler, going on to become one of the most feared and respected defenders in the game.

    After spending several months in New York City, the family signed up for a journey to the Republic of Texas where they could homestead and eventually acquire 137 free acres for their efforts. Soon growing discontented with, not only the land, but also the management of the colony in which they had settled, the Horns decided to return to England. But, it was not to be. Attacked and captured by a party of Comanche Indians, Sarah Ann was faced with challenges and realities the like of which she never could have dreamed. Over a period of fifteen months of Comanche captivity, she and her captors rode endlessly across the Texas plains until finally she was purchased out of bondage and befriended by traders in New Mexico. This is the true story of a remarkable woman who endured an unimaginable amount of suffering and pain in her short lifetime.

    Writing is hard work and can be difficult to wedge into a frenetic academic schedule.This revised and updated edition of Paul Silvia's popular guide provides practical, light-hearted advice to help academics overcome common barriers and become productive writers. Silvia's expert tips have been updated to apply to a wide variety of disciplines, and this edition has a new chapter devoted to grant and fellowship writing.

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    Landmarks is about the power of language to shape our sense of place. It is a field guide to the literature of nature, and a glossary containing thousands of remarkable words used in England, Scotland, Ireland and Wales to describe land, nature and weather. Travelling from Cumbria to the Cairngorms, and exploring the landscapes of Roger Deakin, J. A. Baker, Nan Shepherd and others, Robert Macfarlane shows that language, well used, is a keen way of knowing landscape, and a vital means of coming to love it.

    Presents practical, Buddhist-based guidelines to achieving happiness in romantic relationships through a series of inspirational quotes complemented by thematic watercolors and divided into three sections that explore the concepts of illusion, reality, and life.

    The literary critic Roland Barthes dies—struck by a laundry van—after lunch with the presidential candidate François Mitterand. The world of letters mourns a tragic accident. But what if it wasn’t an accident at all? What if Barthes was . . . murdered?

    Taking her own experience of translating Roland Barthes’s lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter’s translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original.

    L. Doctorow, and Frank Rich, into a useful guide not just for writers but for everyone who wants to put their best foot forward in writing prose. Dreyer offers lessons on the ins and outs of punctuation and grammar, including how to navigate the words he calls "the confusables," like tricky homophones; the myriad ways to use (and misuse) a comma; and how to recognize--though not necessarily do away with--the passive voice. (Hint: If you can plausibly add "by zombies" to the end of a sentence, it's passive.) People are sharing their writing more than ever--on blogs, on Twitter--and this book lays out, clearly and comprehensibly, everything writers can do to keep readers focused on the real reason writers write: to communicate their ideas clearly and effectively. Chock-full of advice, insider wisdom, and fun facts on the rules (and nonrules) of the English language, this book will prove invaluable to everyone who wants to shore up their writing skills, mandatory for people who spend their time editing and shaping other people's prose, and--perhaps best of all--an utter treat for anyone who simply revels in language.

    In this book I have set out prove that statement is completely untrue and in fact with customers like these then maybe the opposite could be said. So sit back, grab your self a drink perhaps an alcoholic one if you feel that way inclined and enjoy some of the strangest, ridiculous and most outrageous complaints and statements from all walks of life. The second volume is out now and is much longer and in my opinion even better than the first, though i would say that.

    To reflect on method implies for Agamben an archaeological vigilance: a persistent form of thinking in order to expose, examine, and elaborate what is obscure, unanalyzed, even unsaid, in an author's thought. To be archaeologically vigilant, then, is to return to, even invent, a method attuned to a "world supported by a thick weave of resemblances and sympathies, analogies and correspondences." Collecting a wide range of authors and topics in a slim but richly argued volume, Agamben enacts the search to create a science of signatures that exceeds the attempts of semiology and hermeneutics to determine the pure and unmarked signs that signify univocally, neutrally, and eternally. Three conceptual figures organize Agamben's argument and the advent of his new method: the paradigm, the signature, and archaeology. Each chapter is devoted to an investigation of one of these concepts and Agamben carefully constructs its genealogy transhistorically and from an interdisciplinary perspective. And at each moment of the text, Agamben pays tribute to Michel Foucault, whose methods he rethinks and effectively uses to reformulate the logic of the concepts he isolates. The Signature of All Things reveals once again why Agamben is one of the most innovative thinkers writing today.

    It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of reference, in particular of naming, and of identity. From a critique of the dominant tendency to assimilate names to descriptions and more generally to treat their reference as a function of their Fregean sense, surprisingly deep and widespread consequences may be drawn. The largely discredited distinction between accidental and essential properties, both of individual things (including people) and of kinds of things, is revived. So is a consequent view of science as what seeks out the essences of natural kinds. Traditional objections to such views are dealt with by sharpening distinctions between epistemic and metaphysical necessity; in particular by the startling admission of necessary a posteriori truths. From these, in particular from identity statements using rigid designators whether of things or of kinds, further remarkable consequences are drawn for the natures of things, of people, and of kinds; strong objections follow, for example to identity versions of materialism as a theory of the mind.This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here published with a substantial new Preface by the author.

    The essays selected here by feminist scholar Sandra M. Gilbert range from the 1960s to 2006, emphasizing Rich’s lifelong intellectual engagement and fearless prose exploration of feminism, social justice, poetry, race, homosexuality, and identity.

    It is designed to take absolute beginners to a point where they can approach the current literature in the subject. It contains numerous in-text exercises which involve the reader in doing morphology by formulating hypotheses and testing them against data from English and numerous other languages. Although primarily intended to be a course book for use on morphology courses, it will also be useful for students taking courses in the closely related sub-fields of phonology and syntax. The book is divided into three parts:. Part 1 surveys traditional and structuralist notions of word-structure which still provide the necessary background to morphological investigations. Part 2 explores the relationship between the lexicon, morphology and phonology in current generative grammar. Part 3 examines issues in the interaction between the lexicon, morphology and syntax.