A criminal/political thriller surrounding the investigation of an officer-involved shooting. Surviving an ambush by killing the suspected shooter doesn't guarantee Officer Tyler Garrett safety, especially when the suspect was shot in the back and his gun has disappeared. Will the department and city hall close ranks and protect Garrett? Or will they step back and allow him to twist in the wind?
Romantic hero of legend or charismatic self-seeker in love with himself and his cause? Which is the real Charles Edward Stuart? Hugh Douglas goes beyond the flaws of Bonnie Prince Charlie's character to prove that here was a man capable not only of deep and enduring passion, but also love.
Captivity narratives have been a standard genre of writings about Indians of the East for several centuries.a Until now, the West has been almost entirely neglected.a Now Gregory and Susan Michno have rectified that with this painstakenly researched collection of vivid and often brutal accounts of what happened to those men and women and children that were captured by marauding Indians during the settlement of the West."
The sixth and concluding volume of selected letters and diary entries of Lindbergh describes the genesis of the beloved "Gift from the Sea" and follows its hugely successful publication.
The author traces his Campbell ancestors through at least seven generations to Perth in central Scotland. Details on children and grandchildren are included when known. The author also includes interesting facts about the times and places where they lived as well as weaving their life stories into local history when he believes it will add value. Details on living persons is limited or excluded. Much of the information was passed down within the author's family and is based on original sources that have not been made available in published works other than the author's earlier publication ""Cottrell-Brashear Family Linage"" which contained some Campbell history. The author includes copies of family documents as well as family photographs. Sources are extensively documented as footnotes at the bottom of each page. Timeline and ancestor charts are also provided. An ""all name"" index lists page numbers for each individual.
Iris Barry (1895Ð1969) was one of the first critics to recognize film as an art form. The mother of film preservation internationally, she founded the film department at New York City's Museum of Modern Art and became its first curator, cementing filmÕs critical legitimacy. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's remarkable life and work, sharing the story of a thoroughly modern muse and mentor to some of the most influential artists of her day. Although she had the bearing of a British aristocrat, Barry was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, her early work attracted the attention of Ezra Pound, whose letters to Barry comprise the essence of his thoughts on writing. Moving to London at Pound's suggestion in 1917, Barry joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats, and fell in love with PoundÕs eccentric fellow Vorticist, Wyndham Lewis. During these tumultuous years, Barry launched a career as a novelist, biographer, and critic of motion pictures, which were dismissed as lower-class amusements. She wrote articles for the Spectator positioning film as a new art form and in 1925 cofounded the London Film Society. Emigrating to America in 1930, Barry joined the modernist Askew Salon, where she met Alfred Barr Jr., the director of the new Museum of Modern Art. Barr helped Barry establish a film library and convince powerful Hollywood interests to submit their work for exhibition, creating a significant new respect for film and prompting the founding of the International Federation of Film Archives, for which Barry served as Life President. Barry continued to augment MoMAÕs film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Houston, Samuel Goldwyn, and Frank Capra. Yet despite these patriotic efforts, BarryÕs ÒforeignnessÓ and association with such filmmakers as Luis Buuel made her the target of an anticommunist witch hunt. She eventually left for France, working for MoMA only as consultant. Barry died in obscurity, her contribution to film and cultural history largely forgotten. Sitton reclaims her phenomenal achievements while recasting the political involvement of artistic institutions in the early twentieth century.
