From the author of Godforsaken Sea -- a #1 bestseller in Canada and “one of the best books ever written about sailing” (Time magazine) -- comes a magnificent re-creation of a square-rigger voyage round Cape Horn at the end of the 19th century. In The Way of a Ship, Derek Lundy places his seafaring great-great uncle, Benjamin Lundy, on board the Beara Head and brings to life the ship’s community as it performs the exhausting and dangerous work of sailing a square-rigger across the sea. The “beautiful, widow-making, deep-sea” sailing ships could sail fast in almost all weather and carry substantial cargo. Handling square-riggers demanded detailed and specialized skills, and life at sea, although romanticized by sea-voyage chroniclers, was often brutal. Seamen were sleep deprived and malnourished, at times half-starved, and scurvy was still a possibility. Derek Lundy reminds readers what Melville and Conrad expressed so well: that the sea voyage is an overarching metaphor for life itself. As Benjamin Lundy nears the Horn and its attendant terrors, the traditional qualities of the sailor -- fatalism, stoicism, courage, obedience to a strict hierarchy, even sentimentality -- are revealed in their dying days, as sail gave way to steam. Derek Lundy tells his gripping tale with the kind of storytelling skill and writerly breadth that is usually the ken of our finest novelists, and in so doing, imagines a harrowing and wholly credible history for his seafaring Irish-Canadian ancestor.

"The Way of the Ship offers a global perspective and considers both oceanic shipping and domestics shipping along America's coasts and inland waterways, with explanations of the forces that influenced the way of the ship. The result is an eye-opening, authoritative look at American maritime history and the ways it helped shape the nation's history."--BOOK JACKET.

J. Richard “Dick” Steffy stood inside the limestone hall of the Crusader castle in Cyprus and looked at the wood fragments arrayed before him. They were old beyond belief. For more than two millennia they had remained on the sea floor, eaten by worms and soaking up seawater until they had the consistency of wet cardboard. There were some 6,000 pieces in all, and Steffy’s job was to put them all back together in their original shape like some massive, ancient jigsaw puzzle. He had volunteered for the job even though he had no qualifications for it. For twenty-five years he’d been an electrician in a small, land-locked town in Pennsylvania. He held no advanced degrees—his understanding of ships was entirely self-taught. Yet he would find himself half a world away from his home town, planning to reassemble a ship that last sailed during the reign of Alexander the Great, and he planned to do it using mathematical formulas and modeling techniques that he’d developed in his basement as a hobby. The first person ever to reconstruct an ancient ship from its sunken fragments, Steffy said ships spoke to him. Steffy joined a team, including friend and fellow scholar George Bass, that laid a foundation for the field of nautical archaeology. Eventually moving to Texas A&M University, his lack of the usual academic credentials caused him to be initially viewed with skepticism by the university’s administration. However, his impressive record of publications and his skilled teaching eventually led to his being named a full professor. During the next thirty years of study, reconstruction, and modeling of submerged wrecks, Steffy would win a prestigious MacArthur Foundation “genius” grant and would train most of the preeminent scholars in the emerging field of nautical archaeology. Richard Steffy’s son Loren, an accomplished journalist, has mined family memories, archives at Texas A&M University and elsewhere, his father’s papers, and interviews with former colleagues to craft not only a professional biography and adventure story of the highest caliber, but also the first history of a field that continues to harvest important new discoveries from the depths of the world’s oceans.

In this thought-provoking and lyrical debut novel, a young woman's only hope for survival in the dystopian future is a ship, a Noah's Ark, that can rescue 500 people. London burned for three weeks. And then it got worse. . . Young, naive, and frustratingly sheltered, Lalla has grown up in near-isolation in her parents' apartment, sheltered from the chaos of their collapsed civilization. But things are getting more dangerous outside. People are killing each other for husks of bread, and the police are detaining anyone without an identification card. On her sixteenth birthday, Lalla's father decides it's time to use their escape route -- a ship he's built that is only big enough to save five hundred people. But the utopia her father has created isn't everything it appears. There's more food than anyone can eat, but nothing grows; more clothes than anyone can wear, but no way to mend them; and no-one can tell her where they are going.

An inquisitive fox sets off on a seafaring voyage with a crew of deer and pigeons in this enchanting tale of friendship and adventure. Marco the fox has a lot of questions, like: how deep does the sun go when it sinks into the sea? And why do birds have such lizardy feet? But none of the other foxes share his curiosity. So when a magnificent ship adorned with antlers and with a deer for a captain arrives at the dock looking for a crew, Marco volunteers, hoping to find foxes who are as inquisitive as he is that can answer his questions. The crew finds adventure and intrigue on their journey. And, at last, Marco finds the answer to his most important question of all: What's the best way to find a friend you can talk to?

On October 28, 1943, a U.S. Navy ship was successfully teleported with disastrous effects on its crew. Crewmen died, developed rare or yet unidentified diseases, and most horrifying of all, some became fused to the metal, their arms and legs protruding from the bulkhead. A team of psychologists has gathered at a small university to study and analyze the same reoccurring dream of seven completely different people. The dream involves a large navy ship in a vast desert with soldiers trapped inside the bulkheads. Slowly, by depriving the dreamers of REM sleep, the dreams are killing the dreamers. What the dreamers do not realize is that another vessel; this one equipped with nuclear missiles has disappeared in a green-gray mist over the North Atlantic. Only Elizabeth Foxworth, a social worker studying the dreamers, can prevent nuclear disaster by entering the dream, and risking her life and the lives of the dreamers. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

I Went Looking for a Ship' is a navigation through the landscape of shipping, following the major renovation of the sea lock in IJmuiden, the most important access to the port of Amsterdam. 0Natascha Libbert documents the life inside the technical zone on and around the locks, the port of Amsterdam and the ships. She focused on themes such as destruction and construction, the increasing public invisibility of maritime transport, and the way in which the landscape is constantly changing as a result of shipping. She decided to look for a ship to be able to observe everything from another perspective and to get a grip on this landscape in transformation. Eventually, she took passage on a ship that picks up quarried stone from a mountain in Norway. 0In 'I Went Looking for a Ship', Libbert?s research and logs are the common thread, where the earthly images set the visual tone: sometimes technical, sometimes abstract and poetic. Through the use of archival footage, reference images and research, she not only highlights the history of the locks, but also tells about specific characteristics of the maritime space and the similarities between divers and astronauts.