Thirty-five years of the best Garfield Sunday funnies—perfect for fans of the world’s favorite fat cat! “Every Sunday morning, after doing the farm chores, Dad, Mom, Doc (yes, he’s real), and I would settle in with the Sunday paper for at least a half hour of chuckling, snorting, and laughing out loud.”—Jim Davis Settle in with these Garfield Sunday funnies, handpicked and annotated by celebrated Garfield cartoonist Jim Davis. This special anniversary collection presents the comics in their full glory (complete with title and drop panels), along with an assortment of original sketches and never-before-seen rejected strips. It’s Garfield the fat cat in his Sunday finest!
NEW YORK TIMES BESTSELLER • The unapologetic, laugh-your-ass-off military memoir both vets and civilians have been waiting for, from a five-tour Army Ranger turned YouTube phenomenon and zealous advocate for veterans Members of the military’s special operations branches share a closely guarded secret: They love their jobs. They relish the opportunity to fight. They are thankful for it, even, and hopeful that maybe, possibly, they’ll also get to kill a bunch of bad guys while they’re at it. You don’t necessarily need to thank them for their service—the pleasure is all theirs. In this hilarious and personal memoir, readers ride shotgun alongside former Army Ranger and private military contractor and current social media phenomenon Mat Best, into the action and its aftermath, both abroad and at home. From surviving a skin infection in the swampy armpit of America (aka Columbus, Georgia) to kicking down doors on the outskirts of Ramadi, from blowing up a truck full of enemy combatants to witnessing the effects of a suicide bombing right in front of your face, Thank You for My Service gives readers who love America and love the good guys fresh insight into what it’s really like inside the minds of the men and women on the front lines. It’s also a sobering yet steadying glimpse at life for veterans after the fighting stops, when the enemy becomes self-doubt or despair and you begin to wonder why anyone should be thanking you for anything, least of all your service. How do you keep going when something you love turns you into somebody you hate? For veterans and their friends and families, Thank You for My Service will offer comfort, in the form of a million laughs, and counsel, as a blueprint for what to do after the war ends and the real fight begins. And for civilians, this is the insider account of military life you won’t find anywhere else, told with equal amounts of heart and balls. It’s Deadpool meets Captain America, except one went to business school and one went to therapy, and it’s anyone’s guess which is which.
William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, personal memories and a fierce desire to capture its historical moment. Sarah Kozloff's illuminating study of the film traces the contribution of Wyler (himself injured while serving in the US Air Force), Robert Sherwood's screenplay, Gregg Toland's deep-focus cinematography, Hugo Friedhofer's award-winning score, and the ensemble cast of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright and Harold Russell. The film's poignant message spoke to American audiences reeling from the end of the conflict and the bumpy transition to peace: producer Samuel Goldwyn received hundreds of letters from ex-servicemen about how accurately his production had captured their experiences. Despite winning nine Academy Awards, Best Years was soon engulfed in political conflict from both the right and the left. Disagreements about the film's politics foreshadowed HUAC's anti-Communist investigations and the fracturing of the Hollywood community that culminated in the collapse of the studio system. Sarah Kozloff's discussion of the film's development, production and reception history draws on archival research to shed new light on our understanding of this much-loved movie, and to bring The Best Years of Our Lives back where it belongs: in our collections, in our libraries, and in our hearts.
William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, personal memories and a fierce desire to capture its historical moment. Sarah Kozloff's illuminating study of the film traces the contribution of Wyler (himself injured while serving in the US Air Force), Robert Sherwood's screenplay, Gregg Toland's deep-focus cinematography, Hugo Friedhofer's award-winning score, and the ensemble cast of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright and Harold Russell. The film's poignant message spoke to American audiences reeling from the end of the conflict and the bumpy transition to peace: producer Samuel Goldwyn received hundreds of letters from ex-servicemen about how accurately his production had captured their experiences. Despite winning nine Academy Awards, Best Years was soon engulfed in political conflict from both the right and the left. Disagreements about the film's politics foreshadowed HUAC's anti-Communist investigations and the fracturing of the Hollywood community that culminated in the collapse of the studio system. Sarah Kozloff's discussion of the film's development, production and reception history draws on archival research to shed new light on our understanding of this much-loved movie, and to bring The Best Years of Our Lives back where it belongs: in our collections, in our libraries, and in our hearts.
In this deluxe commemorative edition, LIFE's editors focus on the publication's achievements more tightly than they ever have before: This is truly the best of everything LIFE has accomplished. In these pages are the best war photos ever taken for LIFE; the best photo essays ever to grace our pages (including the works of Capa and Parks and Smith); the loveliest pictures from Hollywood (in fact, the best pictures of Marilyn Monroe ever taken by such as Halsmann, Eisenstaedt and her dear friend Milton Greene), the best sports pictures, the funniest pictures we ever ran. The best pictures from the space race, and the most significant pictures to the human race, including Lennart Nilsson's "Life Before Birth." This is a premium volume of LIFE, and beyond its 200-plus pages, which include a review of every LIFE cover ever published, there is, included here, the ultimate premium: The first-ever LIFE issue, with the Margaret Bourke-White photograph of the Fort Peck Dam on the cover, reprinted in its entirety, at actual size (which was really big 10 1/2" x 14") and able to be detached. We've come a long way: We, you, those places, LIFE itself. This book tells, and celebrates, that voyage.
The Best Films of Our Years is an affectionate and witty traversal of the history of the movies year-by-year by an author whose style has been called "finely crafted" (America), "highly readable" (Choice), and "often irreverently amusing" (Opera News). In the 1970s, when he was lecturing on film, Father Owen Lee was able to speak with and learn from such movie people as Pauline Kael, Robert Altman, Francis Ford Coppola, and Roberto Rossellini. In this book he provides thumbnail reviews of ten -- arguably the best ten -- movies of each year from 1935 (when he began his movie going) to the present. There is a preliminary section commenting on fifty important films that preceded 1935. And there is a closing section with longer chapters on "the ten best films of all our years", among them Grand Illusion, Rashomon, and Lawrence of Arabia. The book's title rings a change on William Wyler's The Best Years of Our Lives (1946).
In the 1970s, a prominent journalist examined the immediate postwar period to find rampant political and social tensions. His survey offers a unique perspective on a critical era in American history. Includes a new Preface by the author.
Released in 1946, The Best Years of Our Lives became an immediate success. Life magazine called it “the first big, good movie of the post-war era” to tackle the “veterans problem.” Today we call that problem PTSD, but in the initial aftermath of World War II, the modern language of war trauma did not exist. The film earned the producer Samuel Goldwyn his only Best Picture Academy Award. It offered the injured director, William Wyler, a triumphant postwar return to Hollywood. And for Harold Russell, a double amputee who costarred with Fredric March and Dana Andrews, the film provided a surprising second act. Award-winning author Alison Macor illuminates the film’s journey from script to screen and describes how this authentic motion picture moved audiences worldwide. General Omar Bradley believed The Best Years of Our Lives would help “the American people to build an even better democracy” following the war, and the movie inspired broad reflection on reintegrating the walking wounded. But the film’s nuanced critique of American ideals also made it a target, and the picture and its creators were swept up in the anti-Communist witch hunts of the late 1940s. In this authoritative history, Macor chronicles the making and meaning of a film that changed America.
Based on structured research and interviews with pupils in years 10 and 11 (15 ^DDS 16 years old) about their views of the purpose of school and their own future employment and the way the two connect, this book offers a blistering critique of the purpose of education and its ability to prepare children for the world of work. The issues raised include: the purpose of school, the nature and quality of the curriculum, whether their time was well spent, whether what they learned was relevant, who influenced them, their views of industry and the world outside. Out of the mouths of babes, the truth comes tumbling and the result is a shocking indictment of an educational system that fails to deliver what it sets out to achieve.
