Many books and articles have been written on wars in narrow seas. However, none deals in any comprehensive manner with the problems of strategy and conduct of naval operations. The aim of this book is to explain in some detail the characteristics of a war fought in narrow seas and to compare and contrast strategy and major operations in narrow seas and naval warfare in the open ocean..

Detective Inspector Hillary Greene is due to retire in a matter of weeks. To her dismay her boss, who is determined to get her to change her mind about leaving the force, gives her a murder inquiry to handle. The victim, Michael Ivers, a gambler and a notorious womanizer, had few friends and there is a long list of murder suspects. But unless Hillary wants an unsolved murder as her final case as a police officer, she has just days to find out who killed him. To add to an already complicated case her old foe, ex-Sergeant Frank Ross, is back on the scene—and he is a prime suspect.

Praise for Jamaal May: "Linguistically acrobatic [and] beautifully crafted. . . . [Jamaal May's] poems, exquisitely balanced by a sharp intelligence mixed with earnestness, makes his debut a marvel."—Publishers Weekly Following Jamaal May's award-winning debut collection, Hum (2013), these new poems explore parallel landscapes of the poet's interior and an insidious American condition. Using dark humor that helps illuminate the pains of maturity and loss of imagination, May uncovers language like a skilled architect—digging up bones of the past to expose what lies beneath the surface of the fragile human condition. From: "Ask Where I've Been": Ask about the tornado of fists. The blows landed. If you can watch it all—the spit and blood frozen against snow, you can probably tell I am the too-narrow road winding out of a crooked city built of laughter, abandon, feathers and drums. Ask only if you can watch streetlights bow, bridges arc, and power lines sag, and still believe what matters most is not where I bend but where I am growing. Jamaal May is a poet, editor, and filmmaker from Detroit, Michigan, where he taught poetry in public schools and worked as a freelance audio engineer and touring performer. His poetry won the 2013 Indiana Review Poetry Prize and appears in journals such as Poetry, Ploughshares, the Believer, NER, and the Kenyon Review. May has earned an MFA from Warren Wilson College as well as fellowships from Cave Canem and The Stadler Center for Poetry at Bucknell University. He founded the Organic Weapon Arts Chapbook Press.

This superbly illustrated book is designed to meet the demand for a comprehensive yet concise source of information on temporomandibular joint (TMJ) imaging that covers all aspects of TMJ diagnostics. After introductory chapters on anatomy, histology, and the basics of radiological imaging, detailed guidance is provided on the use and interpretation of radiography, CT, CBCT, ultrasound, MRI, and nuclear medicine techniques. Readers will find clear presentation of the imaging findings in the full range of TMJ pathologies, from intrinsic pathological processes to invasion by lesions of the temporal bone and mandibular condyle. Careful attention is also paid to the technical issues confronted when using different imaging modalities, and the means of resolving them. The role of interventional radiology is examined, and consideration given to the use of arthrography and arthrography-guided steroid treatment. In addition, an overview of recent advances in research on TMJ diagnostics is provided. Imaging of the Temporomandibular Joint has been written by an international team of dedicated authors and will be of high value to clinicians in their daily practice.

The complex material histories of the Nintendo Entertainment System platform, from code to silicon, focusing on its technical constraints and its expressive affordances. In the 1987 Nintendo Entertainment System videogame Zelda II: The Adventure of Link, a character famously declared: I AM ERROR. Puzzled players assumed that this cryptic mesage was a programming flaw, but it was actually a clumsy Japanese-English translation of “My Name is Error,” a benign programmer's joke. In I AM ERROR Nathan Altice explores the complex material histories of the Nintendo Entertainment System (and its Japanese predecessor, the Family Computer), offering a detailed analysis of its programming and engineering, its expressive affordances, and its cultural significance. Nintendo games were rife with mistranslated texts, but, as Altice explains, Nintendo's translation challenges were not just linguistic but also material, with consequences beyond simple misinterpretation. Emphasizing the technical and material evolution of Nintendo's first cartridge-based platform, Altice describes the development of the Family Computer (or Famicom) and its computational architecture; the “translation” problems faced while adapting the Famicom for the U.S. videogame market as the redesigned Entertainment System; Nintendo's breakthrough console title Super Mario Bros. and its remarkable software innovations; the introduction of Nintendo's short-lived proprietary disk format and the design repercussions on The Legend of Zelda; Nintendo's efforts to extend their console's lifespan through cartridge augmentations; the Famicom's Audio Processing Unit (APU) and its importance for the chiptunes genre; and the emergence of software emulators and the new kinds of play they enabled.