I went to Rio to watch the Olympics, but unexpectedly, I met with a plane crash and landed on a deserted island. At the same time, I landed on a desert island with a few beautiful celebrities ...

Ben Zhu's Dessert Island is an irresistible picture book about sharing and caring. Monkey is on a dessert island. It is made of frosting, berries, and other delicious things. Fox is on a desert island. It is made of dirt, rocks, and sand. But as time goes on, their fortunes change, and Monkey and Fox discover that no animal is an island. This wonderfully layered story has themes of consumption and conservation at its center, and wraps up with a sweet and satisfying ending.

Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard--these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling.

If a shipwreck or a plane crash lands you on a deserted island, you might think your troubles are over. Think again! How to Survive on a Deserted Island will tell you how to find drinkable water, catch food, and signal rescuers that you need help.

Calling all castaways! You've probably pretended to be an explorer alone on a desert island in the middle of the ocean. It's a fantastic adventure! But if you were shipwrecked and washed ashore, do you think you'd be able to survive? If you've read this book, the answer is yes, without a doubt! Learn how to light a fire without matches, build a shelter, find water and make it safe to drink, treat small wounds, read the sky, tie different kinds of knots, let people know you are there, and much more. Are you ready to become a Robinson Caruso? If you know where to look, nature will give you everything you need.

Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.