They revealed her to be an inadvertent master of twentieth-century American street photography. Not long after, the news broke that Maier had recently died and had no surviving relatives. Soon the whole world knew about her preternatural work, shooting her to stardom almost overnight.   But, as Pamela Bannos reveals in this meticulous and passionate biography, this story of the nanny savant has blinded us to Maier’s true achievements, as well as her intentions. Most important, Bannos argues, Maier was not a nanny who moonlighted as a photographer; she was a photographer who supported herself as a nanny. In Vivian Maier: A Photographer’s Life and Afterlife, Bannos contrasts Maier’s life with the mythology that strangers—mostly the men who have profited from her work—have created around her absence. Bannos shows that Maier was extremely conscientious about how her work was developed, printed, and cropped, even though she also made a clear choice never to display it. She places Maier’s fierce passion for privacy alongside the recent spread of her work around the world, and she explains Maier’s careful adjustments of photographic technique, while explaining how the photographs have been misconstrued or misidentified. As well, Bannos uncovers new information about Maier’s immediate family, including her difficult brother, Karl—relatives that once had been thought not to exist.   This authoritative and engrossing biography shows that the real story of Vivian Maier, a true visionary artist, is even more compelling than the myth.

    When he has to move to Florida, he can't believe his bad luck. His new school is a mix of bible belles, amberzombies, and football heroes -- none of which are exactly his type. Billy's efforts to fit in and stand out at the same time are both hilarious and heart warming. In this novel from adult author and media personality James St. James, readers are in for a wild ride as he tells Billy's fascinating story of bravado, pain, and unexpected love, inspired by his own experiences.

    But there are two things that dim her love of the place: cocky assholes who think they own the world, and cocky assholes who think they can flex their muscles and wreck her bar when throwing a temper tantrum. Unfortunately, the drop-dead gorgeous, hotter than hot, shifter man she secretly loves is both. Blake wants the curvaceous, gorgeous Honey in his bed. Now. He’s lusted (but not loved, let’s get that straight) after the luscious woman for months. True, he looks like a bad-boy biker mixed with a player and, yeah, he’s broken a few things in her bar… But only because the guys were hitting on his girl. With no hope of winning her over in sight, he does what any red-blooded werehedgehog would do in his position. He lies.

    A high school dropout, barely able to read until he taught himself, Billy’s life is driven by his need to help support his parents as a construction worker, put his sisters through college, coach his Little League team, and not think about being a three-time loser in the engagement department. Being terrified of taking tests keeps Billy from getting the contractor's license he so desires, and fear of his mother's judgement blinds Billy to what could make him truly happy. Then, in preparation for his sister’s big wedding, Billy meets Shaz—Chase Phillips—a rising star, celebrity stylist who defines the word gay. To Shaz, Billy embodies everything he’s ever wanted—stalwart, honest, brave—but even if Billy turns out to be gay, he could never endure the censure he’d get for being with a queen like Shaz. How can two men with so little in common find a way to be together? Can the Stylist of the Year end up with the Knight of Ocean Avenue?

    First published over fifteen years ago and long out-of-print, the poster and accompanying paperback book sum up the mis-tellings—and reveal the real story—in a graphically appealing and accessible format.In vintage Loewen fashion, the poster juxtaposes short quotes from a range of high school textbooks currently in use, with excerpts from primary sources that clearly show how textbooks have "lied" by knowingly substituting crowd-pleasing myths for grim and gruesome historical evidence.In fact, these textbooks intentionally omitted every important detail that we do know about Columbus’s fateful voyage to the Americas. Among countless other facts, Loewen demonstrates that Columbus and his men were far from the first to set foot in the "New World," and that the peoples he encountered there did not submit to the "god-like" authority of him and his crewmen, but rather to the deadly forms of smallpox and bubonic plague they brought with them from Europe.In concise, deeply engaging prose, Loewen expands on these little-discussed facts, putting them in the larger context of a discussion of "truth" and revisionist history.

    From the water's surface, it's a simple exercise: a dog's leap, a splash, and then a wet head surfacing with a ball, triumphant. But beneath the water is a chaotic ballet of bared teeth and bubbles, paddling paws, fur and ears billowing in the currents. From leaping Lab to diving Dachshund, the water is where a dog's distinct personality shines through; some lounge in the current, paddling slowly, but others arch their bodies to cut through the water with the focus and determination of a shark. In more than eighty portraits, award-winning pet photographer and animal rights activist Seth Casteel captures new sides of our old friends with vibrant underwater photography that makes it impossible to look away. Each image bubbles with exuberance and life, a striking reminder that even in the most loveable and domesticated dog, there are more primal forces at work. In Underwater Dogs, Seth Casteel gives playful and energetic testament to the rough-and-tumble joy that our dogs bring into our lives.

    When Ryland's math scholarship disappears overnight, he has two choices. He can borrow money from fellow student Jason Burrows, who has very interesting ways of collecting debts. Or, he can volunteer to be thrown to the werelions. One night spent playing the part of a willing human sacrifice will give him enough money to finish his PhD. It seems like a good deal-right up until the moment he finds himself naked, blindfolded, bound and surrounded by lions.

    In this, the first shot fired over the bow of the 2004 Presidential election, Michael Moore aims to unseat the man who slithered into the White House on tracks built by the bloody hands of Enron and greased with the oil of his daddy. As if an unelected, semi-literate president weren't problem enough, America's Democrats have managed to take the liberty out of "liberal," signing on with the G.O.P. for dirty corporate money and the ill-gotten gains of globalization. The "left" is just as satisfied as the right to stand idly by as the chasm between the haves and the have-nots grows wider and wider. Thank god for Michael Moore because Dude, Where's My Country tells us precisely what went wrong, and, more importantly, how to fix things. In a voice that is fearless, funny, and furious, Moore takes readers to the edge of righteous laughter and divine revenge.

    By night, she cracks heads of rival gangs in brutal bike wars to gain possession of a rare, valuable contraband: an engine-boosting “machine narcotic” known as Crush. Featuring Part One of ISOLA: PROLOGUE by BRENDEN FLETCHER and KARL KERSCHL!

    In his gripping, now-classic history of war journalism, Phillip Knightley shows just how right Johnson was. From William Howard Russell, who described the appalling conditions of the Crimean War in the Times of London, to the ranks of reporters, photographers, and cameramen who captured the realities of war in Vietnam, The First Casualty tells a fascinating story of heroism and collusion, censorship and suppression.Since Vietnam, Knightley reveals, governments have become much more adept at managing the media, as highlighted in chapters on the Falklands War, the Gulf War, and the conflict between NATO and Serbia over Kosovo. And in a new chapter on the post-9/11 wars in Afghanistan and Iraq, Knightley details even greater degrees of government manipulation and media complicity, as evidenced by the "embedding" of reporters in military units and the uncritical, openly patriotic coverage of these conflicts. "The age of the war correspondent as hero," he concludes, "appears to be over." Fully updated, The First Casualty remains required reading for anyone concerned about freedom of the press, journalistic responsibility, and the nature of modern warfare.

    Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field. And in the nineteenth century, as the doors to art schools began to open to women, self-portraits by the likes of Berthe Morisot, Marie Bashkirtseff, and photographers such as Alice Austen resonated with a newfound self-confidence. Seeing Ourselves concludes with the breaking of taboos in the twentieth century. Paula Modersohn-Becker imagines herself pregnant in her fantasy nude of 1906; Alice Neel paints herself naked at the age of eighty; and Frida Kahlo explicitly renders her own physical pain in a self-portrait complete with nails piercing her skin. And in recent decades, Cindy Sherman explores identity by transforming herself over and over into a cast of different characters, posing the questions that all the women in this enthralling book have faced when "seeing" themselves.

    Greek life is as foreign to Aussie transplant Mark as Pennsylvania’s snowstorms and bear sightings. So, when the fraternity extends Mark a bid, Mark vows to get himself kicked out by the end of pledge period. But then he’s drawn into Alpha Delt’s feud with a neighboring fraternity.Studious Deacon Holt is disappointed to learn Mark’s pledging Alpha Delt, his fraternity Phi Sigma Kappa’s sworn enemy. Mark is too beautiful for Deacon to pass up an invitation for sex, but beyond sex, Deacon’s not sure. He wants a relationship, but a difficult family situation prevents him from pursuing anything beyond his studies.Mark and Deacon’s affair heats up as the war between their fraternities escalates. They explore kinks they didn’t know they had while keeping their liaison a secret from their brothers. But what Romeo and Juliet didn’t teach these star-crossed lovers is how to move beyond sex and into a place where they share more than a bed. That’s something they’ll have to figure out on their own—if the friction between their houses, and between Mark and America, doesn’t tear them apart.

    Convinced they’ll never meet again Anwar puts him out of his mind, but the awkwardly charming man keeps turning up in his life.

    A tactician and superhero discuss their desires, limits, and kinks before their first time, and perhaps get a little too excited in the process. A pair of supervillains explore gender and sex together, while growing closer in their relationship. Lesbian heroes try out a kinky rolepaying scenario, and discover how to make it work for both of them. And an exhausted assassin relaxes after a long day with the kind (yet firm) attentions of his husband.Told with care, sex-positivity, and humor, and featuring a wide variety of sexualities and bodies, Super Fun Sexy Times aims to create an erotic reading experience that lives up to its name!

    The second book, Becoming a Barbarian, showed disconnected modern men - men born into the anti-identity "Empire of Nothing" - how to think tribally. In A More Complete Beast, Donovan picks up Friedrich Nietzsche's thoughts on nobility and master morality and uses them to guide men through an "upside-down" modern world, avoid the trap of hateful ressentiment, and overcome adversity through creativity. In Donovan's hands, Nietzsche's words are rasps and chisels to help men refine a strength-based ethos, reveal their highest and noblest selves and become more complete men. And, as Nietzsche reminded us, man is a beast - so to become a more complete man is always to become a more complete beast.