Gathers photographs taken in Haiti, Mexico, the Dominican Republic, Egypt, Barbados, India, Zaire, Ivory Coast, Uganda, and Trinidad

Review The images - rich in color and visual rhythm - span 30 years and several continents. Of course, Haiti and the Mexican border are well represented, locales that opened up a new way to see. He has been able to render Haiti - a place often depicted for its chaos - with a precise eye, finding personal moments that are as still as they are complex. He can use shadows as skillfully as a be-bop musician to set the tempo. The people in his frames can look like dwarfs being stomped on by giant, disembodied feet. He can make an American street seem far more foreboding than any Third World slum. (David Gonzalez The New York Times 2011-12-18) A 30-year retrospective of a great, and often overlooked, American pioneer of colour photography who pays scant regard to genre boundaries, merging art photography, photojournalism and often complex street photographs. (Sean O'Hagan The Guardian 2011-12-13) In far-flung corners of the globe, Webb captures glimpses of beauty in impoverished lives and stoicism in the face of strife. (Jack Crager American Photo 2011-12-01).

On one side, the Night World, rules by the Blood Lords and the Beast Kind. On the other, the elusive Fae and the humans, protected by their steadfast mages... Born a wraith, Lily is a shadow who slips between worlds. Brought up by a Blood Lord and raised to be his assassin, she is little more than a slave. But when Lily meets her match in target Simon DuCaine, the unlikely bond that develops between them threatens to disrupt an already stretched peace in a city on the verge of being torn apart...

The world is still only half-made. Between the wild shores of uncreation, and the ancient lands of the East lies the vast expanse of the West---young, chaotic, magnificent, war-torn. Thirty years ago, the Red Republic fought to remake the West---fought gloriously, and failed. The world that now exists has been carved out amid a war between two rival factions: the Line, enslaving the world with industry, and the Gun, a cult of terror and violence. The Republic is now history, and the last of its generals sits forgotten and nameless in a madhouse on the edge of creation. But locked in his memories is a secret that could change the West forever, and the world’s warring powers would do anything to take it from him. Now Liv Alverhuysen, a doctor of the new science of psychology, travels west, hoping to heal the general’s shattered mind. John Creedmoor, reluctant Agent of the Gun and would-be gentleman of leisure, travels west, too, looking to steal the secret or die trying. And the servants of the Line are on the march.

"A truly profound debut."—Buzzfeed "A time-bending suspense that's contemplative and fresh, evocative and gripping."—USA Today "Henry's story captivates, both as a romance and as an imaginative rethinking of time and space."—Publishers Weekly "This time-traveling, magical, and beautifully written love story definitely deserves a spot on your bookshelf."—Bustle Emily Henry's stunning debut novel is Friday Night Lights meets The Time Traveler's Wife and perfectly captures those bittersweet months after high school, when we dream not only of the future, but of all the roads and paths we've left untaken. Natalie's last summer in her small Kentucky hometown is off to a magical start . . . until she starts seeing the "wrong things." They're just momentary glimpses at first—her front door is red instead of its usual green, there’s a preschool where the garden store should be. But then her whole town disappears for hours, fading away into rolling hills and grazing buffalo, and Nat knows something isn't right. Then there are the visits from the kind but mysterious apparition she calls "Grandmother," who tells her, "You have three months to save him." The next night, under the stadium lights of the high school football field, she meets a beautiful boy named Beau, and it's as if time just stops and nothing exists. Nothing, except Natalie and Beau.

#1 NEW YORK TIMES BEST SELLER • In this urgent, authoritative book, Bill Gates sets out a wide-ranging, practical—and accessible—plan for how the world can get to zero greenhouse gas emissions in time to avoid a climate catastrophe. Bill Gates has spent a decade investigating the causes and effects of climate change. With the help of experts in the fields of physics, chemistry, biology, engineering, political science, and finance, he has focused on what must be done in order to stop the planet's slide to certain environmental disaster. In this book, he not only explains why we need to work toward net-zero emissions of greenhouse gases, but also details what we need to do to achieve this profoundly important goal. He gives us a clear-eyed description of the challenges we face. Drawing on his understanding of innovation and what it takes to get new ideas into the market, he describes the areas in which technology is already helping to reduce emissions, where and how the current technology can be made to function more effectively, where breakthrough technologies are needed, and who is working on these essential innovations. Finally, he lays out a concrete, practical plan for achieving the goal of zero emissions—suggesting not only policies that governments should adopt, but what we as individuals can do to keep our government, our employers, and ourselves accountable in this crucial enterprise. As Bill Gates makes clear, achieving zero emissions will not be simple or easy to do, but if we follow the plan he sets out here, it is a goal firmly within our reach.

Following Inge Morath¿s death in 2002, nearly 10.000 hitherto unknown color originals were recovered from storagein Paris and New York. This body of images, together with Morath¿s known archive of color material, reveals thedevelopment of a distinct sensibility. Inge Morath was undoubtedly influenced by the legendary hostility of hercolleague, Henri Cartier-Bresson, to color photography. Morath¿s own ambivalence is reflected in the contradictionbetween the sheer volume of color film that she exposed and its absence from her exhibited and published works. Hercolor vision, already strong in her photographs of gypsy encampments in Ireland in 1954, matured in the late 1950s,during her documentation of the Middle East, in 1956, and Romania, where she worked in 1958. From the '60s on,Morath employed color as a central element within her documentary narratives. Filling in a significant lacuna in her previously published work, First Color is an examination of Morath¿s first decade of work in color, and is drawn largely from the trove of posthumously recovered material.