After the gross and unjustifiable insults you have offered me both as a soldier and a gentleman, I conclude you must be prepared to give me that satisfaction I am entitled to. I am therefore to request that you will name a place and hour of meeting.' So runs a typical challenge to a duel from the early 19th century; formal, polite - and potentially fatal. Duelling is deeply imbedded in our collective consciousness, through numerous films and novels; it evokes a golden past, of gentlemen defending their honour (or that of their wives) in the early morning light of a wooded glade; of frockcoats, rapiers and pistols. From the duel's roots in medieval chivalric tournaments, to the unforgiving code of honour in which death was preferable to shame, this fascinating history recounts - with the aid of numerous vivid eye-witness accounts - all the drama and sheer terror of the duel.

"Never, never, did I imagine that dueling could be so enthralling, outrageous, gruesome, tragic, and, yes, ridiculous...Lively humor and sparkling prose." -Wall Street Journal The medieval justice of trial by combat evolved into the private duel by sword and pistol, with thousands of honorable men-and not-so-honorable women-giving lives and limbs to wipe out an insult or prove a point. The duel was essential to private, public, and political life, and those who followed the elaborate codes of procedure were seldom prosecuted and rarely convicted-for, in fact, they were obeying a grand old tradition. Based on her fascinating 1997 Smithsonian article, Barbara Holland's Gentlemen's Blood is the first trade book to trace the remarkable, often gruesome, sometimes comical history of the Western tradition of defending one's honor.

At the 37th libel suit Thurlow Potts has brought to court to protect the family name, the family’s beleaguered lawyer Charlie Paxton loses the case. Thurlow seems driven beyond reason to protect the million dollar shoe business of his mother, Cornelia Potts, known to the press as the ‘Old Woman who Lived in a Shoe.’ But some people in the courtroom think Thurlow should be taken seriously, including Ellery Queen, who is looking on while waiting with his father, Inspector Queen of the New York Police Department, for another case. Afraid Thurlow will make good on his threats, Paxton begs Queen for help. Paxton’s fiancee is Thurlow’s sister, and she secures Queen an invitation to dinner, where Queen meets the extended and unusual Potts family. But before the meal ends, Thurlow challenges his younger brother to a duel, and not one, but two murders ensue. For the twin victims, and for Queen who must now solve the crimes, the fairytale is over.

The monarchs of seventeenth-century Europe put a surprisingly high priority on the abolition of dueling, seeing its eradication as an important step from barbarism toward a rational state monopoly on justice. But it was one thing to ban dueling and another to stop it. Duelists continued to kill each other with swords or pistols in significant numbers deep into the nineteenth century. In 1883 Maupassant called dueling “the last of our unreasonable customs.” As a dramatic and forbidden ritual from another age, the duel retained a powerful hold on the public mind and, in particular, the literary imagination. Many of the greatest names in Western literature wrote about or even fought in duels, among them Corneille, Molière, Richardson, Rousseau, Pushkin, Dickens, Hugo, Dumas, Twain, Conrad, Chekhov, and Mann. As John Leigh explains, the duel was a gift as a plot device. But writers also sought to discover in duels something more fundamental about human conflict and how we face our fears of humiliation, pain, and death. The duel was, for some, a social cause, a scourge to be mocked or lamented; yet even its critics could be seduced by its risk and glamour. Some conservatives defended dueling by arguing that the man of noble bearing who cared less about living than living with honor was everything that the contemporary bourgeois was not. The literary history of the duel, as Touché makes clear, illuminates the tensions that attended the birth of the modern world.

The Camp 100 is the supreme collection of everything CAMP, a flamboyant manifesto that defines this mysterious, glittering quality in the modern cultural era.

* Stage a coup * Swim with sharks * Beat a breathalyzer * The Forbidden Knowledge series has taken readers over the edge before, but never like this. The Most Forbidden Knowledge jam-packs the best and baddest how-tos into one car-stealing, keg-kicking, base-jumping-off-a-skyscraper collection. You'll find everything you ever wanted to learn (though probably never should) in this ultimate self-destruction manual.

Richard Lowenstein’s 1986 masterpiece Dogs in Space was and remains controversial, divisive, compelling and inspirational. Made less than a decade after the events it is based on, using many of the people involved in those events as actors, the film explored Melbourne’s ‘postpunk’ counterculture of share houses, drugs and decadence. Amongst its ensemble cast was Michael Hutchence, one of the biggest music stars of the period, in his acting debut. This book is a collection of essays exploring the place, period and legacy of Dogs in Space, by people who were there or who have been affected by this remarkable film. The writers are musicians, actors and artists and also academics in heritage, history, urban planning, gender studies, geography, performance and music. This is an invaluable resource for anyone passionate about Australian film, society, culture, history, heritage, music and art.