Henry S Wrong Turn

In this story based on a true incident, a humpback whale tries to find its way home after mistakenly swimming into New York Harbor.

"Shepard may be the best lesser-known film critic." —The New York Times Book Review The first book of nonfiction from one of our great fiction writers. Given that most Americans proudly consider themselves non-political, where do our notions of collective responsibility come from? Which self-deceptions, when considering ourselves as actors on the world stage, do we cling to most tenaciously? Why do we so stubbornly believe, for example, that our country always means well when intervening abroad? The Tunnel at the End of the Light argues that some of our most persistent and destructive assumptions, in that regard, might come from the movies. In these ten essays Jim Shepard weaves close readings of film with cultural criticism to explore the ways in which movies work so ubiquitously to reflect how Americans think and act. Whether assessing the “high-spirited glee of American ruthlessness” captured in GoodFellas, or finding in Lawrence of Arabia a “portrait of the lunatic serenity of our leaders’ conviction in the face of all evidence and their own lack of knowledge,” he explores how we enter into conversations with specific genres and films—Chinatown, The Third Man, and Badlands among others—in order to construct and refine our most cherished illusions about ourselves.

Reading textbook series, organized by thematic units, utilizes award-winning, unabridged trade book literature to teach reading and language arts competency to students, grades K-6.

“With its focus on tank crew members and their commanders this is a unique addition to the literature on WWII.” —A. Harding Ganz, Associate Professor Emeritus of the Ohio State University at Newark, author of Ghost Division After the shocking fall of France in June 1940, the U.S. Army embarked on a crash program to establish a new armored force. One of the units formed was the 756th Tank Battalion (Light), activated at Fort Lewis in June 1941. Because of severe equipment shortages, the new battalion trained without tanks for several months, but by early 1942 were equipped with new M3 light tanks. While companies A and C took part in Operation Torch, B was withheld for lack of cargo space in the transport ships and rejoined the battalion two months later in North Africa. The units undertook reconnaissance missions following the landings in Salerno. In December 1943 the battalion was ordered to upgrade to a medium tank (Sherman) unit. Given less than a month to reorganize and train in M4s, the battalion was sent into the Mignano Gap and supported the 34th Infantry Division in the capture of Cervaro and Monte Trocchio. B Company also supported the troops of the 100th Battalion on bloody but ill-fated attempts to cross the Rapido river before finally establishing a secure bridgehead. The nearby town of Caira was also captured, opening an avenue for an attack on Cassino. Based on decades of research, and hours of interviews with veterans of the 756th Tank Battalion, Jeff Danby’s vivid narrative puts the reader in the turret of B Company’s Shermans as they ride into battle. “The level of detail is impressive.” —WWII History Magazine

The epic road trips—and surprising friendship—of John Burroughs, nineteenth-century naturalist, and Henry Ford and Thomas Edison, inventors of the modern age. In 1913, an unlikely friendship blossomed between Henry Ford and famed naturalist John Burroughs. When their mutual interest in Ralph Waldo Emerson led them to set out in one of Ford’s Model Ts to explore the Transcendentalist’s New England, the trip would prove to be the first of many excursions that would take Ford and Burroughs, together with an enthusiastic Thomas Edison, across America. Their road trips—increasingly ambitious in scope—transported members of the group to the 1915 Panama–Pacific International Exposition in San Francisco, the Adirondacks of New York, and the Green Mountains of Vermont, finally paving the way for a grand 1918 expedition through southern Appalachia. In many ways, their timing could not have been worse. With war raging in Europe and an influenza pandemic that had already claimed thousands of lives abroad beginning to plague the United States, it was an inopportune moment for travel. Nevertheless, each of the men who embarked on the 1918 journey would subsequently point to it as the most memorable vacation of their lives. These travels profoundly influenced the way Ford, Edison, and Burroughs viewed the world, nudging their work in new directions through a transformative decade in American history. In American Journey, Wes Davis re-creates these landmark adventures, through which one of the great naturalists of the nineteenth century helped the men who invented the modern age reconnect with the natural world—and reimagine the world they were creating.

In 2007, Nathan Rabin set out to provide a revisionist look at the history of cinematic failure on a weekly basis. What began as a solitary ramble through the nooks and crannies of pop culture evolved into a way of life. My Year Of Flops collects dozens of the best-loved entries from the A.V. Club column along with bonus interviews and fifteen brand-new entries covering everything from notorious flops like The Cable Guy and Last Action Hero to bizarre obscurities like Glory Road, Johnny Cash’s poignantly homemade tribute to Jesus. Driven by a unique combination of sympathy and Schadenfreude, My Year Of Flops is an unforgettable tribute to cinematic losers, beautiful and otherwise.

Two ways of understanding the aesthetic organization of literary works have come down to us from the late 18th century and dominate discussions of European modernism today: the aesthetics of autonomy, associated with the self-sufficient work of art, and the aesthetics of fragmentation, practiced by the avant-gardes. In this revisionary study, Leonardo Lisi argues that these models rest on assumptions about the nature of truth and existence that cannot be treated as exhaustive of modern experience. Lisi traces an alternative aesthetics of dependency that provides a different formal structure, philosophical foundation, and historical condition for modernist texts. Taking Europe's Scandinavian periphery as his point of departure, Lisi examines how Kierkegaard and Ibsen imagined a response to the changing conditions of modernity different from those at the European core, one that subsequently influenced James, Hofmannsthal, Rilke, and Joyce. Combining close readings with a broader revision of the nature and genealogy of modernism, Marginal Modernity challenges what we understand by modernist aesthetics, their origins, and their implications for how we conceive our relation to the modern world.