Carnegie Medalist Mal Peet ignites an epic tale of young love against the dramatic backdrop of the Cold War and the Cuban Missile Crisis. Can love survive a lifetime? When working-class Clem Ackroyd falls for Frankie Mortimer, the gorgeous daughter of a wealthy local landowner, he has no hope that it can. After all, the world teeters on the brink of war, and bombs could rain down any minute over the bleak English countryside – just as they did seventeen years ago as his mother, pregnant with him, tended her garden. This time, Clem may not survive. Told in cinematic style by acclaimed writer Mal Peet, this brilliant coming-of-age novel is a gripping family portrait that interweaves the stories of three generations and the terrifying crises that define them. With its urgent sense of history, sweeping emotion, and winning young narrator, Mal Peet's latest is an unforgettable, timely exploration of life during wartime.
Just after noon on September 16, 1920, as hundreds of workers poured onto Wall Street for their lunchtime break, a horse-drawn cart packed with dynamite exploded in a spray of metal and fire, turning the busiest corner of the financial center into a war zone. Thirty-nine people died and hundreds more lay wounded, making the Wall Street explosion the worst terrorist attack in U.S. history until the Oklahoma City bombing. In The Day Wall Street Exploded, Beverly Gage tells the story of that once infamous but now largely forgotten event. Based on thousands of pages of Bureau of Investigation reports, this historical detective saga traces the four-year hunt for the perpetrators, a worldwide effort that spread as far as Italy and the new Soviet nation. It also gives readers the decades-long but little-known history of homegrown terrorism that helped to shape American society a century ago. The book delves into the lives of victims, suspects, and investigators: world banking power J.P. Morgan, Jr.; labor radical "Big Bill" Haywood; anarchist firebrands Emma Goldman and Luigi Galleani; "America's Sherlock Holmes," William J. Burns; even a young J. Edgar Hoover. It grapples as well with some of the most controversial events of its day, including the rise of the Bureau of Investigation, the federal campaign against immigrant "terrorists," the grassroots effort to define and protect civil liberties, and the establishment of anti-communism as the sine qua non of American politics. Many Americans saw the destruction of the World Trade Center as the first major terrorist attack on American soil, an act of evil without precedent. The Day Wall Street Exploded reminds us that terror, too, has a history. Praise for the hardcover: "Outstanding." --New York Times Book Review "Ms. Gage is a storyteller...she leaves it to her readers to draw their own connections as they digest her engaging narrative." --The New York Times "Brisk, suspenseful and richly documented" --The Chicago Tribune "An uncommonly intelligent, witty and vibrant account. She has performed a real service in presenting such a complicated case in such a fair and balanced way." --San Francisco Chronicle
E. K. Means is a compilation of early African American stories. Contents: The Late Figger Bush, Hoodoo Eyes, The Art of Enticing Labor and many more. Excerpt: Figger Bush did not look like a man who was about to die; if anything, he looked like one who ought to be killed. He was a scarecrow sort of a negro, with ragged, flapping clothes. His coal-black face formed a background for a little, stubby, shoe-brush mustache, and Figger thought that mustache justified his existence in the world. He had not much use for his coconut head except to support a battered wool hat and grow a luxuriant crop of kinky hair. He had an insuperable aversion to all sorts of work.
The Solar System is ours. Biotechnology has provided the Settled Worlds with a riot of habitable environments; sentient craft ply the routes between the planets; the souls of the dead live on in the Noosphere, a psychic Net where they can be contacted by the living. Paradise? Not quite - and when a strange womb is recovered from a living spaceship crashed on Mars it swiftly becomes the focus of intrigue and murder as the Settled Worlds begin to disintegrate under the strain of a vicious interplanetary war between two rival factions.
Because not all love stories have happily-ever-after starts...in fact, some have such...unpleasant beginnings, the endings seem ridiculously predictable. But the universe has its own plan and a sometimes ironic sense of humor, and things have a way of working out in the most unexpected, mysterious, and incredibly beautiful ways. In a world where hate is easy and seems to be so richly rewarded, may we always, always choose love. I hope you enjoy reading these stories as much as I enjoyed writing them
Unframed presents some of the complex dimensions of South Asia-oriented lens-based media, specifically tracing the evolution of photography in the subcontinent from the nineteenth century to the present. Through intersecting trajectories, thirty-one texts, arranged in five distinct yet interdependent sections, examine the general history/particular meta-histories of the medium in our region, reflecting the depth of image practices in India, Pakistan, Sri Lanka, Bangladesh, Nepal and Myanmar. Drawing upon the broader arc of South Asian visual cultures, this collection/reader analyzes emergent themes, testimonies and socio-cultural shifts through key discussions around the invention, application and consequent proliferation of lens-based work. Seminal analyses revised for this volume, as well as new commissioned essays and a set of interviews with practitioners/curators collectively explore the subtle entanglements of memory and space; notions of selfhood; the blurring of geographic taxonomies; the edicts of the gaze; the rupture of identity; varied dimensions of mirroring/othering; and the unstable politics of etching moments in time. Unframed thereby turns a critical eye upon lyrical and evidentiary frameworks, challenging the obduracy of our narrative positions and the conditioned habits of viewing that reinforce our intractable claims to know 'who' and 'where' we are. These pages offer fresh insights into how our analogue, digital and other hybrid technologies compel us to confront any monolithic history of photography by working through the multiplicity of facts and the singularity of truth. Contributors Anoli Perera, Aparna Kumar, Ashmina Ranjit, Aveek Sen, Bakirathi Mani, Christopher Pinney, David Odo, Dechen Roder, Omar Khan, Premjish Achari, Rahul Roy, Raqs Media Collective, Sabeena Gadihoke, Sabih Ahmed, Sai Htin Linn Htet, Geeta Kapur, Gopesa Paquette, Hammad Nasar, Ismeth Raheem, Mrinalini Venkateswaran, Nancy Adajania, NayanTara Gurung Kakshapati, Nathalie Johnston, Saloni Mathur, Savitri Sawhney, Shahidul Alam, Sudhir Mahadevan, Sukanya Baskar, Tanzim Wahab, Yu Yu Myint Than
