Holy Sh*t! Run for your lives! The animal kingdom is a messed-up place. Good thing you don't have to live in it because there are animals that would make Chuck Norris look like a wuss. In this tell-all tale of Animals Gone Wild, humorist Danny Vittore introduces you to the F U attitude of creatures great and small, including the fearless honey badger, which has the balls to take on lions and king cobras just for laughs; Gary Busey batsh*t crazy squirrels; and cane toads, which love to hump things Jersey Shore style.
#1 New York Times Bestseller Over 10 million copies sold In this generation-defining self-help guide, a superstar blogger cuts through the crap to show us how to stop trying to be "positive" all the time so that we can truly become better, happier people. For decades, we’ve been told that positive thinking is the key to a happy, rich life. "F**k positivity," Mark Manson says. "Let’s be honest, shit is f**ked and we have to live with it." In his wildly popular Internet blog, Manson doesn’t sugarcoat or equivocate. He tells it like it is—a dose of raw, refreshing, honest truth that is sorely lacking today. The Subtle Art of Not Giving a F**k is his antidote to the coddling, let’s-all-feel-good mindset that has infected American society and spoiled a generation, rewarding them with gold medals just for showing up. Manson makes the argument, backed both by academic research and well-timed poop jokes, that improving our lives hinges not on our ability to turn lemons into lemonade, but on learning to stomach lemons better. Human beings are flawed and limited—"not everybody can be extraordinary, there are winners and losers in society, and some of it is not fair or your fault." Manson advises us to get to know our limitations and accept them. Once we embrace our fears, faults, and uncertainties, once we stop running and avoiding and start confronting painful truths, we can begin to find the courage, perseverance, honesty, responsibility, curiosity, and forgiveness we seek. There are only so many things we can give a f**k about so we need to figure out which ones really matter, Manson makes clear. While money is nice, caring about what you do with your life is better, because true wealth is about experience. A much-needed grab-you-by-the-shoulders-and-look-you-in-the-eye moment of real-talk, filled with entertaining stories and profane, ruthless humor, The Subtle Art of Not Giving a F**k is a refreshing slap for a generation to help them lead contented, grounded lives.
This is a story about the lives of six men from the 'View' who formed a pact, and vowed they all would become the finest amongst New York's finest and survive to maintain the 'circle of friends' and the conflicts they endure when fighting crime involves their childhood friends. It is these types of relationships that are deeply rooted and sometime unexplainable. They are more than just oxymoron expressions. They depicted the good and the bad, the hero and the villain, the cop and the criminal that are rarely acknowledged as acceptable in our society because they bash anomalies that emerged in childhood socialized relationships, and takes shape long before we separate into the virtuous and the questionable. Consequently, there is evidence that the way they unfold are intuitive and instinctive qualities developed in order to survive, growing up in these mean streets. Little did they know that the brotherhood, the trust, the bond and strength of the 'circle' would be challenged and tested 'big time'? And in a way, they never imagined. In a way, that could destroy their 'brotherhood', possibly forever, as reported by the investigative journalist, Linda Acevedo, from the New York Daily News. She also was the lead reporter charge with uncovering who actually killed the three bank executives during a bank robbery. The story is also staged during the rescue, recovery, and compensation stages of 9/11 serving to create a complex set of circumstances surrounding the 'circle of friends'. Ms. Acevedo maintained... "The bank robbery and triple murders had to be planned for months in advanced, or perhaps even years, Ms. Acevedo would argue. This unknown suspect or suspects had to know that a meeting was planned and that all three of these victims had to be coming together at a designated time. That is, the same time the robbery was planned. "Perhaps the robbery was planned as a cover up," she would also pose to her readers as a viable question. The conflict experience throughout the story offers no comfort or envy for the officers faced with similar sets of circumstances. It has to place a tremendous burden on them, on a daily basis. Granted, they are law enforcement officers first. And upholding the law is supposed to be their motto, first and foremost. But the reality is that a law enforcement officer in New York City, like in many of America's cities, has to know how to 'roll'. And knowing how to 'roll' could very well mean, managing your health and safety for at the very least, another day, or not taking another brother's life, especially if you knew him and he grew up in the 'View'.
The son of former slaves, Paul Laurence Dunbar was one of the most prominent and publicly recognized figures in American literature at the turn of the twentieth century. Thirty-three years old at the time of his death in 1906, he had published four novels, four collections of short stories, and fourteen books of poetry, not to mention numerous songs, plays, and essays in newspapers and magazines around the world. In the century following his death, Dunbar slipped into relative obscurity, remembered mainly for his dialect poetry or as a footnote to other more canonical figures from the period. The Complete Stories of Paul Laurence Dunbar showcases his gifts as a writer of short fiction and provides key insights into the tensions and themes of Dunbar's literary achievement. Through examining the 104 stories written by Dunbar between 1890 and 1905, readers will be able to better understand Dunbar's specific attempts to maintain his artistic integrity while struggling with America's racist stereotypes. His work interrogated the color-line that informed American life and dictated his role as an artist in American letters. Editors Gene Jarrett and Thomas Morgan identify major themes and implications in Dunbar's work. Available in one convenient, comprehensive, and definitive volume for the first time, The Complete Stories of Paul Laurence Dunbar illustrates the complexity of his literary life and legacy. ABOUT THE EDITORS---Gene Jarrett is an assistant professor of English at the University of Maryland, College Park. He is co-editor (with Henry Louis Gates Jr.) of a forthcoming anthology, New Negro Criticism: Essays on Race, Representation, and African American Culture.Thomas Morgan is a lecturer at the University of Tennessee, Knoxville. His research and teaching interests focus on critical race theory in late-nineteenth century American and African American literature, specifically as it applies to the politics of narrative form.
