"Not real?" Coyote howled. "A filthy lie." He grabbed a wiener and shoved the end of a willow stick through its middle. The Nowherians were deployed around a rusty wheelbarrow used as a grill for their annual Fourth of July weenie roast. Jackrabbit examined the puffy black wiener on the end of his stick. "You still upset about Frijoles saying that Funnies from Nowhere is fiction?" Coyote jabbed the coals, creating an explosion of sparks and coating his wiener in ash. "You bet I am. If we're not real, then neither is Nowhere, and the cartoon character who was boner-fidee elected President of the United States isn't either." He rapped his stick to knock off the ash, and his wiener fell into the fire. "If your wiener were parallel to the stick instead of perpendicular, that wouldn't happen," offered Pearl. He stared at her until the answer came to him. "Parallel is safer but limits you to one wiener." He seized a handful, mounted a row of six, and suspended the drooping load over the fire. "My only limitations are the length of my stick and the size of the fire."

In James Patterson's follow-up to I Funny, middle schooler Jamie Grimm is ready for the national comedy semi-finals. . . but when his family and friends need his help, will he have to put his dreams on hold? In this follow up to the #1 New York Times bestseller I Funny, middle schooler Jamie Grimm has big dreams of being the best stand-up comic in the world-and he won't let the fact that he's wheelchair-bound stand in his way. After winning the New York state finals in the Planet's Funniest Kid Comic Contest, Jamie's off to Boston to compete in the national semi-finals. But when one of his best buddies runs into trouble at school and a sudden family health scare rears its head, Jamie has to put his comedic ambitions on hold and stand by the people he cares about. Can Jamie pass up the big competition for the sake of his friends and family?

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

Go behind the scenes at this classic '90s film from cinematic masters Joel and Ethan Coen. Ya, you betcha, you're gonna discover some fascinating tidbits to celebrate the film's 25th anniversary.

Essays on the apparitional, the incomprehensible, and the paranormal in conversation with art, travel, and storytelling The ghosts—literal and figurative—that drive our deepest impulses, disturb our most precious memories, and haunt the passages of our daily lives are present in this collection of sublime meditations on the unbelievable, the coincidental, and the apparitional. Often containing reflections on the art of storytelling, Caryl Pagel’s essays blend memoir, research, and reflection, and are driven by a desire to observe connections between the visual and the invisible. The narrator of Pagel’s essays explores each enigma or encounter (a football coach’s faked death, the faces of women walking, historical accounts of hallucinations, a city’s public celebration gone wrong) as an intellectual detective ascending a labyrinthine tower of clues in pursuit of a solution to an unreachable problem: always curious, and with a sense of profound wonder. Out of Nowhere Into Nothing is a sprawling, highly associative consideration of the ways in which the observed material world recalls us to larger narrative and aesthetic truths. Interspersed with documentary-style photographs, Pagel’s first collection of prose is a radiant, obsessive investigation into the mysteries at the center of our seemingly mundane lives.

By the age of nine, I will have lived in more than a dozen countries, on five continents, under six assumed identities. I’ll know how a document is forged, how to withstand an interrogation, and most important, how to disappear . . . To the young Cheryl Diamond, life felt like one big adventure, whether she was hurtling down the Himalayas in a rickety car or mingling with underworld fixers. Her family appeared to be an unbreakable gang of five. One day they were in Australia, the next in South Africa, the pattern repeating as they crossed continents, changed identities, and erased their pasts. What Diamond didn’t yet know was that she was born into a family of outlaws fleeing from the highest international law enforcement agencies, a family with secrets that would eventually catch up to all of them. By the time she was in her teens, Diamond had lived dozens of lives and lies, but as she grew older, love and trust turned to fear and violence, and her family—the only people she had in the world—began to unravel. She started to realize that her life itself might be a big con, and the people she loved, the most dangerous of all. With no way out and her identity burned so often that she had no proof she even existed, all that was left was a girl from nowhere. Surviving would require her to escape, and to do so Diamond would have to unlearn all the rules she grew up with. Wild, heartbreaking, and often unexpectedly funny, Nowhere Girl is an impossible-to-believe true story of self-discovery and triumph.

Frustrated by little brothers who follow him everywhere and wreck his toys and games, George commandeers an empty washing machine box for an imaginative escape that is free of pirates, dragons and bothersome younger siblings.