My Brother, Ernest Hemingway was the only biography Ernest knew about, and he was pleased with it―although he asked his brother to postpone publication while he was still alive. First published in 1962, Leicester’s biography provides a revealing and intimate portrait of one of the great writers of our century. Ernest Hemingway was a legend in his own time, whose life was as dramatic as any of the characters in his novels and short stories. He won both the Nobel and the Pulitzer prizes for literature, and the literary style he created has been imitated but never matched. Leicester was the archetypal kid brother, 16 years younger than the great man, whom he adored and in whose footsteps he followed, becoming a respected writer, sharing his brother’s love for high risk and adventure, and, when his health failed, choosing to end his own life as Ernest had done. In this poignant biography, Leicester has given us insight into his world-renowned brother’s life and career as no one else could. His reminiscences allow us to better understand what prompted so many of the familiar Hemingway responses, and the experiences from which he derived material for his novels and stories.

DIVThomas Berger’s debut novel of a young man tumultuously coming of age in postwar Germany/divDIV/divDIV/divDIV Carlo Reinhart, a young American army medic stationed in Germany, confronts a disturbing new world following the end of World War II. Living in Berlin, a city fractured into barricaded sectors by the occupying powers, Reinhart begins to drive himself mad with memories of the evils he has witnessed and questions about how the atrocities took place. When he meets an idealistic Jew named Nathan Schild, Reinhart’s turmoil grows more acute. Schild works for both the Americans and the Russians, and he becomes a flashpoint for Reinhart’s anguish over the world’s vast contradictions. When Schild’s escapades lead to a powerful turning point, Reinhart is forced to come to terms with life’s ambiguities as well as with his own evolving identity./divDIV /divDIVThis ebook features an illustrated biography of Thomas Berger including rare images and never-before-seen documents from the author’s personal collection./div

Animation has had a global renaissance during the 1990s, and nowhere is this more evident than in Asia. With the exception of China and Japan, most Asian nations are relatively new to this art form. Over the last decade, countries such as Taiwan, South Korea, the Philippines, and Thailand, as well as China, have acted as major offshore production plants for North American and European studios. One of the spurs for this increase in activity has been the global growth of terrestrial, cable, satellite, and video systems, all demanding large menus of programming, including animation. A second spur has been the exceptional popularity that Japanese animé has enjoyed across Asia, Europe, and the United States. Despite these developments, there has not been corresponding growth of a serious literature covering industrial and aesthetic issues about Asian animation, and the small amount of work that has been produced has not been published in English. Animation in Asia and the Pacific provides the first continent-wide analysis, delving into issues of production, distribution, exhibition, aesthetics, and regulation in this burgeoning field. Animation in Asia and the Pacific also offers vignettes of the fascinating experiences of a group of animation pioneers. The historical and contemporary perspectives derive from interviews, textual analysis, archival research, and participation/observation data.