"I was a Long Island kid that graduated college in 1976 and moved to Greenwich Village. Two years later, I was working The Mudd Club door. Standing outside, staring at the crowd, it was "out there" versus "in here" and I was on the inside. The Mudd Club was filled with the famous and soon- to- be famous, along with an eclectic core of Mudd regulars who gave the place its identity. Everyone from Jean-Michel Basquiat, Jeff Koons, and Robert Rauschenberg to Johnny Rotten, The Hell's Angels, and John Belushi: passing through, passing out, and some, passing on. Marianne Faithful and Talking Heads, Frank Zappa, William Burroughs, and even Kenneth Anger— just a few of the names that stepped on stage. No Wave and Post- Punk artists, musicians, filmmakers, and writers living in a nighttime world on the cusp of two decades. This book is a cornucopia of memories and images, and how this famed wicked downtown club attained the status of midtown and uptown. There was nothing else like it— I met everyone, and the job quickly defined me. I thought I could handle it, and for a while, I did. "—Richard Boch

Who are ocean angels? What distinguishes them from other people? Are you one of them? In 8 Ocean Angels, the author, Grant King, presents notable characters he considers as real-life ocean angels—such as Francois-Marie Arouet, Massimo Bontempelli, William Shakespeare, Emily Dickinson, Ezra Pound, and Socrates—and describes how they ultimately represent these entities in how they see life and relate to nature and the entire cosmos. The narrative uses repetition of words, lines, and ideas to create a meditative tone, effectively drawing you into mantric reading as you go through each chapter. A book on enlightenment and discoveries, it beckons for introspection, guiding you to the awareness of your real capabilities, of the real nature of life, and of the truth about our relationship with a higher power. Spiritual and personal, the book paves the way for the understanding that we are not solitary entities but are interconnected elements in a majestic and grand design.

Jamie Waterman's discovery of cliff dwellings on Mars opened up a whole new scientific frontier. Now, as science and politics clash, Jamie desperately tries to save the Mars program and uncover as much information as possible about the fate of the planet's vanished inhabitants.

In recent years, a new wave of investigative journalists have become prominent. Some relish being "politically incorrect" (David Brock, author of The Real Anita Hill); others methodically shatter cultural icons (Douglas Frantz's expose of Washington insider Clark Clifford); and still others have revealed such horror as Cold War experimentation on unsuspecting citizens (Eileen Welsome's Pulitzer Prize-winning stories). In their own words, these journalists and nine others (Tim Weiner, John Camp, Marjie Lundstrom, Gerald Posner, Sydney Schanberg, David Burnham, Bryon Acohido, Dan Moldea and Brian Ross) provide insight to their jobs and the role of investigative journalism in American society.

“The best book on writing ever published” (Patricia T. O’Conner, author of Woe Is I). When Robert Graves and Alan Hodge decided to collaborate on this manual for writers, the world was in total upheaval. Graves had fled Majorca three years earlier at the start of the Spanish Civil War, and as they labored over their new project, they witnessed the fall of France and the evacuation of Allied forces at Dunkirk. Soon the horror of World War II would reach British soil as well, as the Luftwaffe began bombing London in an effort to destroy the resolve of the English people. Graves and Hodge believed that at a time when their whole world was falling apart, the survival of English prose sentences—of writing that was clear, concise, and intelligible—had become paramount if hope were going to outlive the onslaught. They came up with forty-one principles for writing, the majority devoted to clarity, the remainder to grace of expression. They studied the prose of a wide range of noted authors and leaders, finding much room for improvement. Successful communication could mean the difference between war and peace, life and death, and they were determined to contribute to its survival. The importance of good writing continues today, as obfuscation, propaganda, manipulative language, and sloppy standards are all too common—and this classic guide is just as useful and important as ever. Note: This edition restores the full, original 1943 text. “To see what really expert mavens can do in applying their rule-based expertise to clearing up bad prose, get hold of a copy of The Reader Over Your Shoulder.” —The Atlantic

The first e-book in the series, Adventures with Grammy: How to Make Butter in Six Easy Steps, draws on a long-standing family tradition. The author's mother made butter as a young girl in the kitchens of her mother and grandmother. Now the author's grandchildren are making butter as their great grandmother did almost a century ago! You can give your grandchildren a sweet taste of history by following the directions in this little book ... complete with pictures. Grandparents who want to make a positive difference in their grandchildren's lives and leave behind lasting memories will love the Adventures with Grammy "How To" series. Each book focuses on a budget-friendly, fun activity guaranteed to create long-lasting memories grandchildren and their grandparents will cherish forever.

Tagore S English Writings Originals And Translations Have Not Received The Attention That They Deserve. The Purpose Of This Edition Is To Make The English Writings Of Tagore Available To The Widest Possible Range Of Readers Interested In The Writings Of Tagore All Over The World, With Just The Bare, Minimum Information Necessary For Appreciating The Writings, And Leave The Critical Assessment To The Readers Themselves.There May Be Two Possible Reasons For The Neglect Of Tagore S English Writings. Firstly, Tagore S Prolific Output, Shakespearean Felicity And Protean Plasticity As A Bengali Poet, Who, Though Well-Versed In English, Chose To Write In The Medium Of His Mother Tongue For Nearly The First Fifty Years Of His Life, And There Is Hardly Any Literary Form That He Did Not Touch Upon And Turn Into Gold. His Creative Genius Found Expression In Poems, Plays, Novels, Essays, Short Stories, Satirical Pieces, Textbooks For Children, And Songs Of All Kinds. The Only Literary Form That He Did Not Try Is Epic. But In His Long, Eventful And Creative Eighty Years Of Life He Virtually Lived An Epic. It Is Largely Due To His Mighty Stature As A Bengali Poet That Nobody Really Bothered About His English Writings And His Own Translations Of His Own Writings.Secondly, It Is Owing To The Supposedly Poor Quality Of His Translations Subsequent To The Translation Of Gitanjali. It Was Only After Tagore Received The Nobel Prize For Literature In 1913 That There Was A Growing Demand For His Writings In The West, And As Tagore Was Not Apparently Satisfied By The Translations That Others Mainly His Admirers Made, He Began To Translate His Writings Himself. But The Tremendous Haste With Which He Had To Translate, Possibly Affected The Quality Of Translations. Come What May, The Point Is Whether Tagore S English Translations Are Good Or Bad, Whether The Translation Furthered His Reputation Or Damaged It, Is Immaterial. The Fact Of The Matter Is That They Are His, And His Own Translation Of Whatever Quality It May Be Is More Valuable To A Tagore Lover Than The Best Translation Made By Somebody Else, As Van Gogh S One Original Single Scratch Is More Valuable Than The Best Possible Copy By Some Other Artist.The Value Of Tagore S English Writings Lies Here : They Constitute An Important Part Of His Total Oeuvre, Add A New Magnificent Dimension To It And Offer Us A Glimpse Into The Mystique Of The Creative Anxiety That Could Have Haunted Even The Greatest Writer Of The Twentieth Century, About His Possible Reception In An Alien Culture.