The Guard

In Stand on Guard, Stephanie Carvin sets out to explain the range of activities considered national security threats by Canadian security services today. As new forms of terrorism and extremism appear, especially online, we need a responsibly widened view of such threats and how they manifest in the contemporary world. Canadians should not be more fearful, Carvin explains, but a more sophisticated understanding among security services personnel and the general public is needed if we are to anticipate and ameliorate threats to national security. As a former security analyst tasked with providing threat assessments to high levels of government, Carvin writes with both authority and urgency. Her book presents an insider’s look at the issues facing the Canadian security and intelligence community. Timely and accessible, Stand on Guard will be required reading for scholars, practitioners, and any Canadian concerned about national security in the twenty-first century.

Winner of the European Union Literature Prize, Peter Terrin's The Guard is a haunting novel of perceived oppression by the an omnipresent, but unknown, authority. In the near future, Harry and Michel live in the basement of a luxury apartment block, guarding the inhabitants. No one goes outside. The world might be at war, it might even have been plunged into nuclear winter. No one knows. But one weekend, all of the residents leave the block, one by one. All but the man on floor 29. Harry and Michel stick to their posts. All they know, all they can hope for, is that if they are vigilant, the "Organization" will reward them with a promotion to an elite cadre of security officers. But what if there were no one left to guard? Playing on our darkest fears, The Guard is a tautly observed novel by a writer of striking and stylish originality.

Gather 'round in the June Alley Inn for more mouse tales. Dustin Nguyen (Batman: Li’l Gotham) tells the story of a dying raven, while Kyla Vanderklugt (Jim Henson’s The Storyteller: Witches) spins a tale of a lovely and brave mouse dancer. And C.M. Galdre (Duelist) and Nicole Gustaffson (Nimasprout) tell the story of a town whose protective walls have fallen.

Collects Mouse Guard: Legends of the Guard #1-4 plus Bonus Materials! Collects the first volume of Legends of the Guard, a new Mouse Guard anthology series featuring the work of artists and storytellers handpicked by series creator David Petersen. Bonus content includes an all-new Epilogue illustrated by Joao Lemos (Avengers Fairy Tales), cover gallery, character lineup, floor plan of the June Alley Inn, and creator bios.

Between 1941 and 1946, in response to the devastation caused by World War II, memories of the Great Depression, and the prospect of Soviet expansion, a group of politicians, diplomats, and economists in the United States and Great Britain sought to repair the ruined economies of of Europe and secure economic prosperity for America. Their program, which became known as multilateralism, called for reduced quotas on imports, lowered tariffs, the abandonment of currency exchange controls, and economic decision making by international bodies. Randall Woods explores this attempt to create an interdependent world economy and sets it against the broader political and strategic backdrop of the period. In the United States, multilateralism attracted New Deal liberals because it proposed to help not only the established economic interests but traditionally disadvantaged groups such as farmers and industrial workers as well. Moderate socialists in Britain also lent their support to a liberalized trading system, as did many conservatives on both sides of the Atlantic, believing that the program would preserve some degree of free enterprise in the international economy. Unfortunately for its disciples, Woods argues, multilateralism was so modified by the forces of isolationism and economic nationalism_and by bureaucratic politics in the United States_that it failed to achieve its economic and strategic goals. The international economy that emerged after World War II was not an equitable partnership and merely finalized the fifty-year process by which the United States supplanted Great Britain as the arbiter of Western Capitalism. In the end, modified multilateralism hampered rather than facilitated the free flow of goods and capital, and it did little to promote social democracy.

A revelatory, explosive new analysis of the British military today. Over the first two decades of the twenty-first century, Britain has changed enormously. During this time, the British Army fought two campaigns, in Iraq and Afghanistan, at considerable financial and human cost. Yet neither war achieved its objectives. This book questions why, and provides challenging but necessary answers. Composed of assiduous documentary research, field reportage, and hundreds of interviews with many soldiers and officers who served, as well as the politicians who directed them, the allies who accompanied them, and the family members who loved and -- on occasion -- lost them, it is a strikingly rich, nuanced portrait of one of our pivotal national institutions in a time of great stress. Award-winning journalist Simon Akam, who spent a year in the army when he was 18, returned a decade later to see how the institution had changed. His book examines the relevance of the armed forces today -- their social, economic, political, and cultural role. This is as much a book about Britain, and about the politics of failure, as it is about the military.

Since the fall of the Berlin Wall in 1989, transnational European cinema has risen, not only in terms of production but also in terms of a growing focus on multiethnic themes within the European context. This shift from national to trans-European filmmaking has been profoundly influenced by such historical developments as the collapse of the Iron Curtain and the subsequent ongoing enlargement of the European Union. In European Cinema after the Wall: Screening East–West Mobility, Leen Engelen and Kris Van Heuckelom have brought together essays that critically examine representations of post-1989 migration from the former Eastern Bloc to Western Europe, uncovering an array of common tropes and narrative devices that characterize the influences and portrayals of immigration. Featuring essays by contributors from backgrounds as divergent as film studies, Slavic and Russian studies, comparative literature, sociology, contemporary history, and communication and media studies, this volume will appeal to scholars of film, European history, and those interested in the impact of migration, diaspora, and the global flow of cinematic culture.