This is Jericho Walker's story, the story of an old black man who skins the deer other people have killed. He's seen it all and heard it all, and if he had the education and the desire, these would be the stories he'd tell. Through old family secrets, opinions, gossip, and history we learn about Jericho's family and the family of Boss Bishop, the white landowner he works for, This is a richly woven story filled with lovingly depicted characters and arresting descriptions of the land, hunting, and the South.

Eddie Fife is a British sailor in the Caribbean in 1662. When he's abducted by a band of buck-naked buccaneers and forced to take a stand in their battle with the Sea Witch, he finds strength and love in the most unusual of circumstances. In this swashbuckler without buckles, Will Forest brings to life a fascinating world of pirates, fugitives and sirens whose naked liberty, while speculative, has historical precedent. Will Forest, a Nude Scribe, is the author of the naturist novels Aglow and Co-ed Naked Philosophy among other works. He writes about naturism and related topics at nudescribe.com.

Skinner founded his career in "asset protection" on fear. To touch anyone under his protection was to invite destruction. A savagely effective methodology, until Skinner's CIA handlers began to fear him as much as his enemies did and banished him to the hinterlands of the intelligence community. Now, an ornate and evolving cyber-terrorist attack is about to end that long exile. His asset is Jae, a roboticist with a gift for seeing the underlying systems violently shaping a new era of global guerrilla warfare. At the root of it all is a young boy, the innocent seed of a plot grown in the slums of Mumbai. Brought to flower, that plot will tip the balance of world power in a perilous new direction. A combination of Le Carre spycraft with Stephenson techno-philosophy from the novelist hailed by the Washington Post as "the voice of twenty-first century crime fiction," Skinner is Charlie Huston's masterpiece -- a new kind of thriller for a new kind of world.

In 2001, at the age of only 22, the virtually unknown Mike Skinner was signed for a five album record deal. Since then, Mike Skinner has won a worldwide reputation for fusing home-grown hip-hop with the proud British tradition of observational song writing, which stretches from The Beatles and The Kinks to Blur and the Arctic Monkeys. In the multi-faceted guise of The Streets he, along with the likes of his friend and peer Dizzy Rascal, has been largely responsible for giving British rap its own identity, distinct from that of its American influences. Alternating between spells of reckless indulgence and sardonic commentary on his own excesses, Mike Skinner has established the kind of instantly accessible pop persona which only comes along once or twice a generation. Now he brings us The Story of the Streets. Moving chronologically through five albums, and the different phases of his life that they represent, Mike shares personal details of his modest upbringing in Birmingham, as well as the wild extravagances of life in the showbiz fast lane. Personal, shocking and funny; but deeply intelligent, insightful, opinionated and searingly honest - this is a lesson in the making of pop history, narrated by a voice that has informed a generation.

Kilborne presents this account of 19th-century millionaire William Skinner, a leading founder of the American silk industry. He lost everything in a devastating flood, but had an inspiring comeback to the top of the business world.

Welcome to Spatterjay ... where sudden death is the normal way of life.

“It takes true brilliance to lift the arid tellings of lexicographic fussing into the readable realm of the thriller and the bodice-ripper….David Skinner has done precisely this, taking a fine story and honing it to popular perfection.” —Simon Winchester, New York Times bestselling author of The Professor and the Madman The captivating, delightful, and surprising story of Merriam Webster’s Third Edition, the dictionary that provoked America’s greatest language controversy. In those days, Webster’s Second was the great gray eminence of American dictionaries, with 600,000 entries and numerous competitors but no rivals. It served as the all-knowing guide to the world of grammar and information, a kind of one-stop reference work. In 1961, Webster’s Third came along and ignited an unprecedented controversy in America’s newspapers, universities, and living rooms. The new dictionary’s editor, Philip Gove, had overhauled Merriam’s long held authoritarian principles to create a reference work that had “no traffic with…artificial notions of correctness or authority. It must be descriptive not prescriptive.” Correct use was determined by how the language was actually spoken, and not by “notions of correctness” set by the learned few. Dwight MacDonald, a formidable American critic and writer, emerged as Webster’s Third’s chief nemesis when in the pages of the New Yorker he likened the new dictionary to the end of civilization.. The Story of Ain’t describes a great cultural shift in America, when the voice of the masses resounded in the highest halls of culture, when the division between highbrow and lowbrow was inalterably blurred, when the humanities and its figureheads were shunted aside by advances in scientific thinking. All the while, Skinner treats the reader to the chippy banter of the controversy’s key players. A dictionary will never again seem as important as it did in 1961.