Best-Selling and Award-Winning Author Like an action adventure movie—a roller coaster of action On balance, retired trial lawyer-turned-beach-bum Matt Royal is a pretty laid-back fellow. But when Laurence Wyatt, one of Matt's best friends, is murdered, Matt trades in his easygoing ways for a hard-hitting quest for revenge. Matt knows the Longboat Key police will do their job in investigating. But for Matt, finding Wyatt's killer isn't a job; it's personal. Determined to do whatever it takes to solve Wyatt's murder, Matt takes matters into his own hands and embarks on a clandestine investigation. Soon, Matt finds himself in hot pursuit of a cadre of remorseless criminals and trained killers, but the tables turn, and Matt becomes the pursued. Faced with mounting danger, Matt calls for backup from his buddies Jock Algren and Logan Hamilton. Matt Royal would go to the ends of the earth to exact revenge for Wyatt's murder, but will he go outside the law? Expect the unexpected in this wild and dangerous ride from Longboat Key, Florida, to Frankfurt, Germany—because hell hath no fury like Matt Royal scorned. Perfect for fans of John Sanford and Robert Crais While all of the novels in the Matt Royal Mystery Series stand on their own and can be read in any order, the publication sequence is: Blood Island Wyatt's Revenge Bitter Legacy Collateral Damage Fatal Decree Found Chasing Justice Mortal Dilemma Vindication

How do men imagine women? In the poetry of Petrarch and his English successors—Wyatt, Donne, and Marvell—the male poet persistently imagines pursuing a woman, Laura, whom he pursues even as she continues to deny his affections. Critics have long held that, in objectifying Laura, these male-authored texts deny the imaginative, intellectual, and physical life of the woman they idealize. In Laura, Barbara L. Estrin counters this traditional view by focusing not on the generative powers of the male poet, but on the subjectivity of the imagined woman and the imaginative space of the poems she occupies. Through close readings of the Rime sparse and the works of Wyatt, Donne, and Marvell, Estrin uncovers three Lauras: Laura-Daphne, who denies sexuality; Laura-Eve, who returns the poet’s love; and Laura-Mercury, who reinvents her own life. Estrin claims that in these three guises Laura subverts both genre and gender, thereby introducing multiple desires into the many layers of the poems. Drawing upon genre and gender theories advanced by Jean-François Lyotard and Judith Butler to situate female desire in the poem’s framework, Estrin shows how genre and gender in the Petrarchan tradition work together to undermine the stability of these very concepts. Estrin’s Laura constitutes a fundamental reconceptualization of the Petrarchan tradition and contributes greatly to the postmodern reassessment of the Renaissance period. In its descriptions of how early modern poets formulate questions about sexuality, society and poetry, Laura will appeal to scholars of the English and Italian Renaissance, of gender studies, and of literary criticism and theory generally.

The Western introduces the novice to the pleasures and the meanings of the Western film, shares the excitement of the genre with the fan, addresses the suspicions of the cynic and develops the knowledge of the student. The Western is about the changing times of the Western, and about how it has been understood in film criticism. Until the 1980s, more Westerns were made than any other type of film. For fifty of those years, the genre was central to Hollywood's popularity and profitability. The Western explores the reasons for its success and its latter-day decline among film-makers and audiences alike. Part I charts the history of the Western film and its role in film studies. Part II traces the origins of the Western in nineteenth-century America, and in its literary, theatrical and visual imagining. This sets the scene to explore the many evolving forms in successive chapters on early silent Westerns, the series Western, the epic, the romance, the dystopian, the elegiac and, finally, the revisionist Western. The Western concludes with an extensive bibliography, filmography and select further reading. Over 200 Westerns are discussed, among them close accounts of classics such as Duel in the Sun, The Wild Bunch and Unforgiven, formative titles like John Ford's epic The Iron Horse, and early cowboy star William S. Hart's The Silent One together with less familiar titles that deserve wider recognition, including Comanche Station, Pursued and Ulzana's Raid.

James Wimble was best known for his map of the Lower Cape Fear Region in 1733, and especially for his final map of 1738. The port town of Wilmington, North Carolina holds the greatest American memorial for James Wimble because he saved the fledgling town from ruin. As Alan D. Watson, in Wilmington, North Carolina, to 1861 put it, Wimble "no doubt was the prime instigator of the new town." Londoners would remember him for his exploits as a privateer in the War of Jenkins Ear, in the 1740's. Many of the British local "rags" describe him as taking prizes of great "burthen" and "rich cargo." These exciting times for English readers proved less than exuberant for Wimble, however. What we know of him during that time mostly comes from British records. His wife died, he lost an arm to chain shot in 1742, and later, almost his life while chasing down a Spanish ship through the Florida Keys in a ship that he named "Revenge." In his final days, James Wimble went back to London to engage in the timber trade.

A lot can happen in 30 seconds. In the case of the shoot-out at the O.K. Corral, 30 seconds found three men dead, left two men wounded and ultimately captured the imagination of generations of Americans. Wyatt Earp, an against-all-odds hero who was literally the last man standing; Doc Holliday, Earp's unlikely crony; the tragic tale of the Earp family--all of these elements make the story of the O.K. Corral irresistible to a great many people. Hollywood filmmakers were quick to recognize the legend's attraction--and its potential. As early as 1939 (with the production of Frontier Marshal), moviemakers were recreating the gunfight at the O.K. Corral and its attendant happenings in Tombstone, Arizona, on October 26, 1881. The following decades produced various renderings of the story, some more historically accurate than others but all with the American flair for entertainment. This volume examines eight movie renderings of the legendary gunfight. Produced from 1939 to 1994, these movies each use Wyatt Earp and other real-life characters as their sources. The work focuses on the filmmakers' treatment of the history and the skill with which each balances fact with the necessity of entertainment. The ways in which Wyatt Earp is presented in each film and this portrayal's relationship to the period in which the film was made is also examined in detail. Films discussed are Frontier Marshal (1939), Tombstone: The Town Too Tough to Die (1942), My Darling Clementine (1946), Gunfight at the O.K. Corral (1957), Hour of the Gun (1967), Doc (1971), Tombstone (1993), and Wyatt Earp (1994). Period photographs are also included.

Wyatt Earp is a legend of America's Wild West. Books, movies, and television shows portray him as a fearless lawman who was quick with a gun and able to take down outlaws in one gunfight after another. The truth is that Wyatt Earp rarely had to shoot to keep the Wild West's outlaws under control. Then came the famous Gunfight at the O.K. Corral, and Wyatt became an outlaw himself. What is the truth about Wyatt Earp, and why do people believe the things they do about him? Read this exciting book to find out what is fact and what is fiction about one of America's most notable heroes.