Whilst Tezuka rose to prominence with iconic characters such as Astro Boy and Black Jack, earning himself the title the 'God of Manga', the artist himself regarded this work as the first of his signature 'story manga'. Originally published in 1948, The Mysterious Underground Men tells the story of Mimio the talking rabbit, as he struggles to prove his humanity while helping his friends save earth from an invasion of angry humanoid ants. Drawing widely on European and American science fiction, this graphic novel is printed in luxurious full-colour.
In this noir mystery, PI Lew Archer is hired to track down a missing child, but becomes embroiled in a baffling forest fire that threatens an affluent Southern California community.
In America's capital city, where little stays secret for long, the identity of Deep Throat - the mysterious source who helped Bob Woodward and Carl Bernstein break open the Watergate scandal in 1972 - remained hidden for thirty-three years. Now, Woodward tells the story of his long, complex relationship with Mark Felt, the enigmatic former No. 2 man in the FBI who helped end the presidency of Richard Nixon. The Secret Man chronicles the story in intimate detail, from Woodward's first, chance encounter with Felt in the Nixon White House, to their covert, middle-of-the-night meetings in an underground parking garage, to the aftermath of Watergate and decades beyond, until Felt finally stepped forward at age 91 to unmask himself as Deep Throat. It is an intense, 33-year journey and the gripping final chapter to one of the most exciting periods in journalistic and political history.
Goodness has nothing to do with it as a hard-luck private eye in 1940s Hollywood takes a case for legendary silver screen sex symbol Mae West. In the early days of talking pictures, the greatest sex symbol in Hollywood was the platinum-blonde bad girl Mae West. Naughty and gorgeous with a razor-sharp wit, West wrote her own material and controlled her own image—until the censors came in and outlawed the racy repartee that made her famous. By the forties, her star has faded and she’s banking everything on a scandalous memoir that she hopes will set the stage for a comeback. When the only copy is stolen, she calls in a favor from an old beau—the brother of wisecracking PI Toby Peters. When Mae West asks, “Why don’t you come up sometime and see me?” you don’t say no. Peters arrives at a party at West’s house, where every guest is a man dressed as the woman herself—and one of them may be the thief who stole the manuscript. But before he can tear off the culprit’s wig, Peters finds that this is about more than theft. The crook wants to destroy Mae West, and he has murder on his mind. The star of Edgar Award winner Stuart M. Kaminsky’s fun forties private eye series, “Peters is a good guy with a sense of humor, and every appearance he makes is a welcome one” (Booklist).
The harrowing story of five men who were sent into a dark, airless, miles-long tunnel, hundreds of feet below the ocean, to do a nearly impossible job—with deadly results A quarter-century ago, Boston had the dirtiest harbor in America. The city had been dumping sewage into it for generations, coating the seafloor with a layer of “black mayonnaise.” Fisheries collapsed, wildlife fled, and locals referred to floating tampon applicators as “beach whistles.” In the 1990s, work began on a state-of-the-art treatment plant and a 10-mile-long tunnel—its endpoint stretching farther from civilization than the earth’s deepest ocean trench—to carry waste out of the harbor. With this impressive feat of engineering, Boston was poised to show the country how to rebound from environmental ruin. But when bad decisions and clashing corporations endangered the project, a team of commercial divers was sent on a perilous mission to rescue the stymied cleanup effort. Five divers went in; not all of them came out alive. Drawing on hundreds of interviews and thousands of documents collected over five years of reporting, award-winning writer Neil Swidey takes us deep into the lives of the divers, engineers, politicians, lawyers, and investigators involved in the tragedy and its aftermath, creating a taut, action-packed narrative. The climax comes just after the hard-partying DJ Gillis and his friend Billy Juse trade assignments as they head into the tunnel, sentencing one of them to death. An intimate portrait of the wreckage left in the wake of lives lost, the book—which Dennis Lehane calls "extraordinary" and compares with The Perfect Storm—is also a morality tale. What is the true cost of these large-scale construction projects, as designers and builders, emboldened by new technology and pressured to address a growing population’s rapacious needs, push the limits of the possible? This is a story about human risk—how it is calculated, discounted, and transferred—and the institutional failures that can lead to catastrophe. Suspenseful yet humane, Trapped Under the Sea reminds us that behind every bridge, tower, and tunnel—behind the infrastructure that makes modern life possible—lies unsung bravery and extraordinary sacrifice.
COSTA BOOK AWARD WINNER: BOOK OF THE YEAR • #1 SUNDAY TIMES (UK) BESTSELLER “Superbly written and breathtakingly researched, The Volunteer smuggles us into Auschwitz and shows us—as if watching a movie—the story of a Polish agent who infiltrated the infamous camp, organized a rebellion, and then snuck back out. ... Fairweather has dug up a story of incalculable value and delivered it to us in the most compelling prose I have read in a long time.” —Sebastian Junger, author of The Perfect Storm and Tribe The incredible true story of a Polish resistance fighter’s infiltration of Auschwitz to sabotage the camp from within, and his death-defying attempt to warn the Allies about the Nazis’ plans for a “Final Solution” before it was too late. To uncover the fate of the thousands being interred at a mysterious Nazi camp on the border of the Reich, a thirty-nine-year-old Polish resistance fighter named Witold Pilecki volunteered for an audacious mission: assume a fake identity, intentionally get captured and sent to the new camp, and then report back to the underground on what had happened to his compatriots there. But gathering information was not his only task: he was to execute an attack from inside—where the Germans would least expect it. The name of the camp was Auschwitz. Over the next two and half years, Pilecki forged an underground army within Auschwitz that sabotaged facilities, assassinated Nazi informants and officers, and gathered evidence of terrifying abuse and mass murder. But as he pieced together the horrifying truth that the camp was to become the epicenter of Nazi plans to exterminate Europe’s Jews, Pilecki realized he would have to risk his men, his life, and his family to warn the West before all was lost. To do so, meant attempting the impossible—an escape from Auschwitz itself. Completely erased from the historical record by Poland’s post-war Communist government, Pilecki remains almost unknown to the world. Now, with exclusive access to previously hidden diaries, family and camp survivor accounts, and recently declassified files, Jack Fairweather offers an unflinching portrayal of survival, revenge and betrayal in mankind’s darkest hour. And in uncovering the tragic outcome of Pilecki’s mission, he reveals that its ultimate defeat originated not in Auschwitz or Berlin, but in London and Washington.
Known as the “Walt Disney of Japan” it is no surprise that Tezuka Osamu is still the best-known manga creator to Western fans. Current scholarship has uncovered the profound complexity and ambiguity not only of his work but of the man, the artist, and his life—dismantling his position as the god of manga. Contributors to this volume of Mechademia—a series devoted to creative and critical work on anime, manga, and the fan arts—analyze Tezuka and his complicated approaches toward life and nonlife on earth, as well as his effect on the lives of other manga artists. Using essays and reprints of Japanese manga on Tezuka, this book questions his influence and attitudes toward the nonhuman, evolutionary theory, the aesthetic lineage of contemporary manga, incipient feminism in the reinscription of the nonhuman feminine, the sexual politics of manga bodies, the origins of the moe culture, and the styles of didacticism revealing the digressions of insects and classical modes, among others. The authors offer varying perspectives on the historical transformations in production, distribution, and reception that gradually integrated and differentiated an overlapping series of markets and readerships in the postwar era. Divided into four sections that explore different “lives”—“Nonhuman Life,” “Media Life,” “A Life in Manga,” and “Everyday Life”—Mechademia 8 serves as a prehistory of the impersonal politics of the present while tracing Tezuka’s legacy. Contributors: Akatsuka Fujio; Anno Moyoko; Linda H. Chance, U of Pennsylvania; Jonathan Clements; Hideaki Fujiki, Nagoya U; Patrick W. Galbraith; Verina Gfader, U of Huddersfield; Alicia Gibson; G. Clinton Godart, USC; Yorimitsu Hashimoto, Osaka U; Ryan Holmberg; Hikari Hori, Columbia U; Mary A. Knighton, College of William and Mary; Thomas Lamarre, McGill U; Christine L. Marran, U of Minnesota; Natsume Fusanosuke, Gakushuin U, Tokyo; Ōtsuka Eiji, Kobe Design U; Baryon Tensor Posadas; Renato Rivera Rusca, Meiji U; Frederik L. Schodt; Marc Steinberg, Concordia U; Tezuka Osamu; Toshiya Ueno, Wako U, Tokyo; Matthew Young.
Gold Pollen and Other Stories collects a handful of Hayashi's most important manga from his reigning years during the late 60s and early 70s. Memorable examples include Red Dragonfly (1968), Yamauba's Lullaby (1968), and Gold Pollen (1971). Published here in original full colour, these stories mix traditional Japanese aesthetics with pop Art sensibilities, and range in topic from the legacies of Japanese right-wing nationalism and Second World War, to the shadow of America over 1960s Japanese youth culture.
Dramatic advances in genetics, cloning, robotics, and nanotechnology have given rise to both hopes and fears about how technology might transform humanity. As the possibility of a posthuman future becomes increasingly likely, debates about how to interpret or shape this future abound. In Japan, anime and manga artists have for decades been imagining the contours of posthumanity, creating dazzling and sometimes disturbing works of art that envision a variety of human/nonhuman hybrids: biological/mechanical, human/animal, and human/monster. Anime and manga offer a constellation of posthuman prototypes whose hybrid natures require a shift in our perception of what it means to be human. Limits of the Human—the third volume in the Mechademia series—maps the terrain of posthumanity using manga and anime as guides and signposts to understand how to think about humanity’s new potentialities and limits. Through a wide range of texts—the folklore-inspired monsters that populate Mizuki Shigeru’s manga; Japan’s Gothic Lolita subculture; Tezuka Osamu’s original cyborg hero, Atom, and his manga version of Fritz Lang’s Metropolis (along with Ôtomo Katsuhiro’s 2001 anime film adaptation); the robot anime, Gundam; and the notion of the uncanny in Ghost in the Shell 2: Innocence, among others—the essays in this volume reject simple human/nonhuman dichotomies and instead encourage a provocative rethinking of the definitions of humanity along entirely unexpected frontiers. Contributors: William L. Benzon, Lawrence Bird, Christopher Bolton, Steven T. Brown, Joshua Paul Dale, Michael Dylan Foster, Crispin Freeman, Marc Hairston, Paul Jackson, Thomas LaMarre, Antonia Levi, Margherita Long, Laura Miller, Hajime Nakatani, Susan Napier, Natsume Fusanosuke, Sharalyn Orbaugh, Ôtsuka Eiji, Adèle-Elise Prévost and MUSEbasement; Teri Silvio, Takayuki Tatsumi, Mark C. Taylor, Theresa Winge, Cary Wolfe, Wendy Siuyi Wong, and Yomota Inuhiko.
From computer games to figurines and maid cafes, men called “otaku” develop intense fan relationships with “cute girl” characters from manga, anime, and related media and material in contemporary Japan. While much of the Japanese public considers the forms of character love associated with “otaku” to be weird and perverse, the Japanese government has endeavored to incorporate “otaku” culture into its branding of “Cool Japan.” In Otaku and the Struggle for Imagination in Japan, Patrick W. Galbraith explores the conflicting meanings of “otaku” culture and its significance to Japanese popular culture, masculinity, and the nation. Tracing the history of “otaku” and “cute girl” characters from their origins in the 1970s to his recent fieldwork in Akihabara, Tokyo (“the Holy Land of Otaku”), Galbraith contends that the discourse surrounding “otaku” reveals tensions around contested notions of gender, sexuality, and ways of imagining the nation that extend far beyond Japan. At the same time, in their relationships with characters and one another, “otaku” are imagining and creating alternative social worlds.
