"Mr. Standfast" is the third part of a trilogy which begins with "The Thirty-Nine Steps" and "Greenmantle". In this nail-biting adventure story, Hannay must outwit a foe far more intelligent than himself; muster the courage to propose to the lovely, clever Mary Lamington; and survive a brutal war. Although Mr. Standfast is a sequel to The Thirty-Nine Steps, it offers far more characterisation and philosophy than the earlier book. For its pace and suspense, its changes of scenery and thrilling descriptions of the last great battles against the Germans, Mr Standfast offers everything that has made its author so enduringly popular.

Corporate magnates of the late 20th century as exemplified by Lee Iacocca, and industrial barons on the Gilded Age such as Andrew Carnegie comprise the brotherhood Catano (English, Louisiana State U.) calls Ragged Dicks. He examines their own accounts of themselves to reveal how the rich take personal credit for their success. c. Book News Inc.

Four chronically homeless people–Amelia One Sky, Timber, Double Dick and Digger–seek refuge in a warm movie theatre when a severe Arctic Front descends on the city. During what is supposed to be a one-time event, this temporary refuge transfixes them. They fall in love with this new world, and once the weather clears, continue their trips to the cinema. On one of these outings they meet Granite, a jaded and lonely journalist who has turned his back on writing “the same story over and over again” in favour of the escapist qualities of film, and an unlikely friendship is struck. A found cigarette package (contents: some unsmoked cigarettes, three $20 bills, and a lottery ticket) changes the fortune of this struggling set. The ragged company discovers they have won $13.5 million, but none of them can claim the money for lack proper identification. Enlisting the help of Granite, their lives, and fortunes, become forever changed. Ragged Company is a journey into both the future and the past. Richard Wagamese deftly explores the nature of the comforts these friends find in their ideas of “home,” as he reconnects them to their histories.

Mark the Match Boy; or, Richard Hunter's Ward, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Sanora Babb’s long-hidden novel Whose Names Are Unknown tells an intimate story of the High Plains farmers who fled drought dust storms during the Great Depression. Written with empathy for the farmers’ plight, this powerful narrative is based upon the author’s firsthand experience. This clear-eyed and unsentimental story centers on the fictional Dunne family as they struggle to survive and endure while never losing faith in themselves. In the Oklahoma Panhandle, Milt, Julia, their two little girls, and Milt’s father, Konkie, share a life of cramped circumstances in a one-room dugout with never enough to eat. Yet buried in the drudgery of their everyday life are aspirations, failed dreams, and fleeting moments of hope. The land is their dream. The Dunne family and the farmers around them fight desperately for the land they love, but the droughts of the thirties force them to abandon their fields. When they join the exodus to the irrigated valleys of California, they discover not the promised land, but an abusive labor system arrayed against destitute immigrants. The system labels all farmers like them as worthless “Okies” and earmarks them for beatings and worse when hardworking men and women, such as Milt and Julia, object to wages so low they can’t possibly feed their children. The informal communal relations these dryland farmers knew on the High Plains gradually coalesce into a shared determination to resist. Realizing that a unified community is their best hope for survival, the Dunnes join with their fellow workers and begin the struggle to improve migrant working conditions through democratic organization and collective protest. Babb wrote Whose Names are Unknown in the 1930s while working with refugee farmers in the Farm Security Administration (FSA) camps of California. Originally from the Oklahoma Panhandle are herself, Babb, who had first come to Los Angeles in 1929 as a journalist, joined FSA camp administrator Tom Collins in 1938 to help the uprooted farmers. As Lawrence R. Rodgers notes in his foreword, Babb submitted the manuscript for this book to Random House for consideration in 1939. Editor Bennett Cerf planned to publish this “exceptionally fine” novel but when John Steinbeck’s The Grapes of Wrath swept the nation, Cerf explained that the market could not support two books on the subject. Babb has since shared her manuscript with interested scholars who have deemed it a classic in its own right. In an era when the country was deeply divided on social legislation issues and millions drifted unemployed and homeless, Babb recorded the stories of the people she greatly respected, those “whose names are unknown.” In doing so, she returned to them their identities and dignity, and put a human face on economic disaster and social distress.

From the acclaimed cultural historian Philip F. Gura comes Truth's Ragged Edge, a comprehensive and original history of the American novel's first century. Grounded in Gura's extensive consideration of the diverse range of important early novels, not just those that remain widely read today, this book recovers many long-neglected but influential writers—such as the escaped slave Harriet Jacobs, the free black Philadelphian Frank J. Webb, and the irrepressible John Neal—to paint a complete and authoritative portrait of the era. Gura also gives us the key to understanding what sets the early novel apart, arguing that it is distinguished by its roots in "the fundamental religiosity of American life." Our nation's pioneering novelists, it turns out, wrote less in the service of art than of morality. This history begins with a series of firsts: the very first American novel, William Hill Brown's The Power of Sympathy, published in 1789; the first bestsellers, Susanna Rowson's Charlotte Temple and Hannah Webster Foster's The Coquette, novels that were, like Brown's, cautionary tales of seduction and betrayal; and the first native genre, religious tracts, which were parables intended to instruct the Christian reader. Gura shows that the novel did not leave behind its proselytizing purpose, even as it evolved. We see Catharine Maria Sedgwick in the 1820s conceiving of A New-England Tale as a critique of Puritanism's harsh strictures, as well as novelists pushing secular causes: George Lippard's The Quaker City, from 1844, was a dark warning about growing social inequality. In the next decade certain writers—Hawthorne and Melville most famously—began to depict interiority and doubt, and in doing so nurtured a broader cultural shift, from social concern to individualism, from faith in a distant god to faith in the self. Rich in subplots and detail, Gura's narrative includes enlightening discussions of the technologies that modernized publishing and allowed for the printing of novels on a mass scale, and of the lively cultural journals and literary salons of early nineteenth-century New York and Boston. A book for the reader of history no less than the reader of fiction, Truth's Ragged Edge—the title drawn from a phrase in Melville, about the ambiguity of truth—is an indispensable guide to the fascinating, unexpected origins of the American novel.

An expanded edition of the only comprehensive illustrated history of New York—with more than 600 ravishing photographs and illustrations—that tells the remarkable 400-year-long story of the city from its beginning in 1624 up to the current moment. The companion volume to the acclaimed PBS series. This landmark book traces the spectacular growth of New York from its initial settlement on the tip of Manhattan through the destruction wrought by the Revolutionary War to its rise as the nation’s premier commercial capital and industrial center and as a magnet for immigrant hopes and dreams in the 19th century to its standing as a beacon of modern culture in the 20th century and as a worldwide symbol of resilience in the 21st century. The story continues here with new chapters delivering a sweeping portrait of New York at the dawn of the 21st century, when it emerged after decades of decline to assert its place at the very center of a new globalized culture. Here is a city challenged—indeed, sometimes shaken to its core—by a series of profound crises: the aftermath of 9/11, the continual struggle with racial injustice, the financial crisis of 2008, the devastation of Superstorm Sandy, the still unfolding cataclysm of the COVID-19 pandemic—whose earliest and deadliest urban epicenter was New York itself. Here too is a lively portrait of the city’s vibrant street life and culture: the birth of hip-hop in the South Bronx, Christo and Jeanne-Claude’s Gates in Central Park, the musicals of Broadway, the explosion in location filmmaking in every borough, the pivotal rise of the tech industry, and so much more. The history of this city—especially in the tumultuous and transformative two decades detailed in the new chapters—is an epic story of rebirth and growth, an astonishing transfiguration, still in progress, of the world’s first modern city into a model and prototype for the global city of the future.