Christened by national media as "Title Town, USA," Valdosta has thrived on the continuity of dominance: sons still play in front of fathers and grandfathers, creased men in pickups still offer steak dinners as a reward for gridiron glory, and Friday nights in the 11,000-seat stadium known as Death Valley still hold a central role in the town's social fabric.Now that place is in peril. As much as Valdosta is a romantic symbol of traditional American values, things are changing here just as they are in small towns everywhere. In Must Win, author Drew Jubera goes inside the country's most famous high school football team to chronicle its dramatic 2010 season, a quest by a program that's down but not out to regain past glory for both the team and the town it represents. This town, this school, and these people have been rocked by forces that have hit the entire country, but they're a long way from giving up. They still believe in the power of a game to overcome all.With a new coach, a new optimism, and a kaleidoscopic cast that includes an aspiring rapper, a beekeeper's son, the best athlete in the state, and the heir to a pro legacy cut short by a crack dealer's bullet, these Wildcats have been given one more chance. Must Win is the American story written across a bright green playing field.

    Featuring brand new stories and some old favorites, many of these tell-all, gritty tales were originally published on the blog Make It MAD between 2010 and 2012, and have been rereleased in their originality for this special print and digital anthology.

    Though victorious, these exhausted men were nevertheless too grief-stricken over the loss of comrades, too guilt-ridden that they had survived, and too numbed by trauma to share in the country’s euphoria. Most never saw a ticker-tape parade, or stole a Times Square kiss. All they wanted was to settle back into quiet workaday lives without fear. How tragic that the forces unleashed by World War II made this simple wish impossible.Willie & Joe: Back Home brilliantly chronicles the struggles and disillusionments of these early postwar years and, in doing so, tells Bill Mauldin’s own extraordinary story of his journey home to a wife he barely knew and a son he had only seen in pictures. The drawings capture the texture and feel, the warp and woof, of this confusing time: the ubiquitous hats and cigarettes, the domestic rubs, the rising fear of another war, and new conflicts over Civil Rights, civil liberties, and free speech. This volume of Mauldin’s work identifies and restores the dozens of cartoons censored by Mauldin’s syndicate for their attacks on racial segregation and McCarthy-style “witch hunts.” Mauldin pleaded with his syndicate to let him out of his contract so that he could return to the simple quiet life so desired by Willie & Joe. The syndicate refused, so Mauldin did battle, as always, through pen and ink.(less)

    For a brief and cherished time there was a woman, and then a child, too, who had been a kind of salvation to him. Then they were gone, leaving Ellis to carry on with the burden of what he had done to them, of the ruin he brought down upon them all.In The Sweet Everlasting, Ellis is seventy-four. Moving back and forth over his life, he recalls his Depression-era boyhood, the black family who worked the neighboring farm, his time in prison, and the subsequent years adrift, working at jobs no one else would take and longing for another chance to rejoin what is left of his family. Ever in the background are the memories of his wife, Susan, and their boy, W.D.--how Ellis drew on her strength and his innocence to resist everything that threatened to harden him: the shame that others would have him feel, the poverty he had known, and the distorted honor and pride he had seen in others and that he knew was inside him, too.Like the hero of William Kennedy's masterpiece, Ironweed, Ellis Burt is a man of uncommon personal dignity and strength, always moving toward, but never expecting, redemption.

    Spanning from 1839 right through to 1894 the incorrigible Flashman fears all evil and when it comes to voluptuous queens and princesses he has be known to waver from his mission. Filled to the gunnels with escapades of unwavering excitement THE COMPLETE FLASHMAN PAPERS will quench even the most ravenous appetite for Flashman.

    Four years later, she’s a stay at home mum with two adorable children, has swapped her Louboutins for rabbit slippers and spends her day making crustless sandwiches and colour co-ordinated lunches instead of signing up high profile clients. When her husband is suddenly made redundant, there is panic in the Mathers’ household. With a mortgage the size of the national debt and a credit card balance that’s in danger of toppling, Lucy reluctantly decides she must return to work. So she digs out her old power suits from the back of the wardrobe and leaves Will to become a house husband. But sitting in Lucy’s old office is Grant Cassidy, suave, handsome and ruthless and with no intention of letting Lucy walk back into the number one job. At home, despite his breezy declaration that swapping boardroom battles for toddler groups would be a doddle, Will’s belief that parental issues could be solved with forward planning and a spread sheet soon falls by the wayside. With both Will and Lucy struggling to adapt, could their previously happy marriage be developing some cracks?

    One waiter, one customer. The overnight fry cook rambles up to the pie case to take his nightly hit of dessert-topping propellant. It’s not a complete surprise when he falls to the floor; the stuff gives him the spins. That’s the point. It’s a bad moment for the boss to arrive, though. It’s worse when the cook turns out to be dead - from a bullet no one heard. For the waiter, it’s the start of the the worst few months of his life, and before it’s done he’ll be neck-deep in drug deals, romances with a faithless minx and an unintelligible Russian teacher - and a plot by campus radicals to blow something big. It’s 1980, after all. No shortage of things to deplore. They’re not too concerned with disco, though; that seems to be on the way out. “Graveyard Special” is another humorous mystery by the author of “Falling Up the Stairs,” and the first in a series of interconnected mysteries that span six decades.

    

    Young Vincent Malloy's vivid imagination takes him on a macabre journey into a fantastical and weird world in which his home is filled with spiders and bats, his aunt becomes an exhibit in his wax museum, and his beautiful wife is buried in his mother's flower bed.

    Made-to-order for those with a taste for inventive idiosyncrasy, this book promises to provoke and entertain in equal measure. About the author: Ishavasyam took a sabbatical from her career in marketing to fulfil her childhood dream of writing a book. Besides weaving tall tales, she loves playing board games and belly dancing. She is a hoarder of art supplies, and has an alarming number of incomplete DIY projects. Ishavasyam lives with her husband, whom she adores to bits, to the point where she may soon give in to his incessant plea to get a dog.

    For example, did you know that Arnie Levin is a seventy-three-year-old former Beatnik painter with a handlebar mustache and a back decorated by Japan’s foremost tattoo artists?Gehr’s book features fascinating biographical profiles of such artists as Gahan Wilson, Sam Gross, Roz Chast, Lee Lorenz, and Edward Koren. Along with a dozen such profiles, Gehr provides a brief history of The New Yorker cartoon itself, touching on the lives and work of earlier illustrating wits, including Charles Addams, James Thurber, and William Steig.

    Included here is Crown-Fire, Country Full of Swedes, The Windfall, Horse Thief, Yellow Girl and Kneel to the Rising Sun.

    With the help of the entire creative collective, Gordon-Levitt culled, edited and curated over 8,500 contributions into this finely tuned collection of original art from 67 contributors. Reminiscent of the 6-Word Memoir series, The Tiny Book of Tiny Stories: Volume 1 brings together art and voices from around the world to unite and tell stories that defy size.

    According to him, it just happened that way. And that one day, when he was looking through his boxes of photographs, he realized that somehow or other dogs had crept into a fair proportion of them. Not that they were dog portraits. More just photographs with dogs in. Pictures of poodles taken at dog shows, of Airedales fetching sticks in the park, of crowds of dogs larking around together, of Highland Terriers jumping in the air for joy - and hundreds of images of dogs walking, being carried, sitting on hearthrugs, beaches, riverbanks, sofas, park benches.DogDogs is a delightful object presenting the largest selection ever published of Erwitt's dog photographs. Any dog-lover's dream title, it contains 500 pictures, all of them printed full-bleed and in arresting duotone. Also included is a captivating essay by P G Wodehouse, who was an admirer of Erwitt's work and a keen dog-owner himself. As he says, ' ... what superb photographs these are. It does one good to look at them. There is not one sitter in his gallery who does not melt the heart.'