Two hardboiled detective mysteries from 1956 and 1961, originally published under Sanderson's pseudonyms, Martin Brett and Malcolm Douglas. Both are set in Montreal and feature series character Mike Garfin (though he was re-named for the U.S. edition of The Deadly Dames as Bill Yates, he is still basically the same character in both books). This is the first U.S. publication for A Dum-Dum for the President.
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
It was cold; bitterly paralysingly cold. There was a dampness in the air that bit into the marrow of your bones and stayed there. The red in the thermometer was below zero and still dropping steadily, and the weather forecasts offered no immediate hope of a let up. The city lay rigid under the stiffening blanket of snow. The air as you breathed it felt solid. A raw novel of sex and drugs in the years just before rock 'n' roll, Hot Freeze moves from the highest Westmount mansion to the lowest Montreal gambling joint and nightclubs. Its hero is Mike Garfin, a man who got kicked out of the RCMP for sleeping with the wife of a suspect. Recreating himself as an "inquiry agent", Mike takes on what looks to be an easy job, shadowing a bisexual, teenaged son of privilege who is throwing around more money than his allowance allows. But the boy disappears. Others soon follow, and Garfin's world becomes a lonelier place. First published in February 1954 as a Dodd, Mead Red Detective Mystery title, Hot Freeze enjoyed second and third lives as a Reinhardt hardcover and a Popular Library paperback. In 1955, a French translation, Mon cadavre au Canada, became part of Gallimard's Serie noir. This Ricochet Books edition is the first in sixty years.
A supplemental textbook for middle and high school students, Hoosiers and the American Story provides intimate views of individuals and places in Indiana set within themes from American history. During the frontier days when Americans battled with and exiled native peoples from the East, Indiana was on the leading edge of America’s westward expansion. As waves of immigrants swept across the Appalachians and eastern waterways, Indiana became established as both a crossroads and as a vital part of Middle America. Indiana’s stories illuminate the history of American agriculture, wars, industrialization, ethnic conflicts, technological improvements, political battles, transportation networks, economic shifts, social welfare initiatives, and more. In so doing, they elucidate large national issues so that students can relate personally to the ideas and events that comprise American history. At the same time, the stories shed light on what it means to be a Hoosier, today and in the past.
Freedom in the World, the Freedom House flagship survey whose findings have been published annually since 1972, is the standard-setting comparative assessment of global political rights and civil liberties. The survey ratings and narrative reports on 195 countries and fifteen territories are used by policymakers, the media, international corporations, civic activists, and human rights defenders to monitor trends in democracy and track improvements and setbacks in freedom worldwide. The Freedom in the World political rights and civil liberties ratings are determined through a multi-layered process of research and evaluation by a team of regional analysts and eminent scholars. The analysts used a broad range of sources of information, including foreign and domestic news reports, academic studies, nongovernmental organizations, think tanks, individual professional contacts, and visits to the region, in conducting their research. The methodology of the survey is derived in large measure from the Universal Declaration of Human Rights, and these standards are applied to all countries and territories, irrespective of geographical location, ethnic or religious composition, or level of economic development.
DARK PASSIONS SUBDUE Stephen Hollis is a young college student, living with his pious parents in the well-to-do Westmount suburb of Montreal. He is an attractive young man, intelligent, popular to a degree, but Stephen has a problem. His is also an insufferable, self-justifying snob who uses his intellect as a barrier against the world. Then he meets Fabien. Fabien is an impeccable bon vivant who lives in a large house with two young men, Duncan and Bill, where he entertains guests while dispensing his bon mots. Stephen is immediately drawn to Fabien, but finds himself in a jealous triangle with Duncan, whom he sees as a rival for Fabien's affections. Duncan had been in the war, and now seems to be living off Fabien. He drinks a lot, takes a lot of showers, and is writing a novel. Stephen hates him. Bill also fought in the war, and feels protective toward Duncan, watching Stephen's intrusion in their household with mounting resentment. In this enclosed world, where everything revolves around the scintillating Fabien, delusions will be shattered-and tragedy becomes inevitable.
Two fast-paced thrillers originally published in 1957 and 1960. Pure Sweet Hell was published as by "Malcolm Douglas" and is set in Spain. Catch a Fallen Starlet is a Hollywood mystery involving a has-been writer and a murdered actor.
From the Pulitzer Prize–winning author of The Looming Tower, and the pandemic novel The End of October: an unprecedented, momentous account of Covid-19—its origins, its wide-ranging repercussions, and the ongoing global fight to contain it "A book of panoramic breadth ... managing to surprise us about even those episodes we … thought we knew well … [With] lively exchanges about spike proteins and nonpharmaceutical interventions and disease waves, Wright’s storytelling dexterity makes all this come alive.” —The New York Times Book Review From the fateful first moments of the outbreak in China to the storming of the U.S. Capitol to the extraordinary vaccine rollout, Lawrence Wright’s The Plague Year tells the story of Covid-19 in authoritative, galvanizing detail and with the full drama of events on both a global and intimate scale, illuminating the medical, economic, political, and social ramifications of the pandemic. Wright takes us inside the CDC, where a first round of faulty test kits lost America precious time . . . inside the halls of the White House, where Deputy National Security Adviser Matthew Pottinger’s early alarm about the virus was met with confounding and drastically costly skepticism . . . into a Covid ward in a Charlottesville hospital, with an idealistic young woman doctor from the town of Little Africa, South Carolina . . . into the precincts of prediction specialists at Goldman Sachs . . . into Broadway’s darkened theaters and Austin’s struggling music venues . . . inside the human body, diving deep into the science of how the virus and vaccines function—with an eye-opening detour into the history of vaccination and of the modern anti-vaccination movement. And in this full accounting, Wright makes clear that the medical professionals around the country who’ve risked their lives to fight the virus reveal and embody an America in all its vulnerability, courage, and potential. In turns steely-eyed, sympathetic, infuriated, unexpectedly comical, and always precise, Lawrence Wright is a formidable guide, slicing through the dense fog of misinformation to give us a 360-degree portrait of the catastrophe we thought we knew.
A reissue of E. E. Cummings's long-unavailable, yet pointed and moving story of a journey through Soviet Russia. Unavailable for more than fifty years, EIMI finally returns. While sometimes termed a "novel," it is better described as a novelistic travelogue, the diary of a trip to Russia in the 1930s during the rise of the Stalinist government. Despite some contempt for what he witnesses, Cummings's narrator has an effective, occasionally hilarious way of evoking feelings of accord and understanding. As Ezra Pound wrote, Cummings's Soviet Union is laid "out there pellucidly on the page in all its Slavic unfinishedness, in all of its Dostoievskian slobberyness....Does any man wish to know about Russia? 'EIMI'!" A stylistic tour de force, EIMI is a mélange of styles and tones, the prose containing many abbreviations, grammatical and syntactical shifts, typographical devices, compounds, and word coinages. This is Cummings's invigorating and unique voice at its finest, and EIMI is without question one of his most substantial accomplishments.
New York Times Bestseller • Finalist for the Pulitzer Prize • An Oprah's Book Club Selection “Powerful . . . [Kingsolver] has with infinitely steady hands worked the prickly threads of religion, politics, race, sin and redemption into a thing of terrible beauty.” —Los Angeles Times Book Review The Poisonwood Bible, now celebrating its 25th anniversary, established Barbara Kingsolver as one of the most thoughtful and daring of modern writers. Taking its place alongside the classic works of postcolonial literature, it is a suspenseful epic of one family's tragic undoing and remarkable reconstruction over the course of three decades in Africa. The story is told by the wife and four daughters of Nathan Price, a fierce, evangelical Baptist who takes his family and mission to the Belgian Congo in 1959. They carry with them everything they believe they will need from home, but soon find that all of it—from garden seeds to Scripture—is calamitously transformed on African soil. The novel is set against one of the most dramatic political chronicles of the twentieth century: the Congo's fight for independence from Belgium, the murder of its first elected prime minister, the CIA coup to install his replacement, and the insidious progress of a world economic order that robs the fledgling African nation of its autonomy. Against this backdrop, Orleanna Price reconstructs the story of her evangelist husband's part in the Western assault on Africa, a tale indelibly darkened by her own losses and unanswerable questions about her own culpability. Also narrating the story, by turns, are her four daughters—the teenaged Rachel; adolescent twins Leah and Adah; and Ruth May, a prescient five-year-old. These sharply observant girls, who arrive in the Congo with racial preconceptions forged in 1950s Georgia, will be marked in surprisingly different ways by their father's intractable mission, and by Africa itself. Ultimately each must strike her own separate path to salvation. Their passionately intertwined stories become a compelling exploration of moral risk and personal responsibility.
