This spectacular new anthology reads like a "Who's Who" in the history of wild sport in Africa. This fascinating book brings together the writings of such legendary authors as Ernest Hemingway, Robert Ruark, Theodore Roosevelt, and Peter Capstick, in addition to some of the finest contemporary outdoor writers. What links all of these great African adventures--both fiction and nonfiction--is their appearance in Sporting Classics at one time or another over the 30-year history of the award-winning magazine. Sporting Classics Africa, edited by Chuck Weschler, will showcase more than 50 illustrations by Bob Kuhn, widely hailed as the world's foremost wild animal artist.

"They all pledge to be back. So I believe that you mean what you say. But the odds are that you'll never be back." Less accurate words have seldom been uttered than those of professional hunter Lew Games to client Mike Miller on safari number one after Mike promised to come back as soon, and as often, as he could. Far from being the usual one-and-done safarist, Mike is now making plans for safari number sixty-four! Mike's first sixty-three African safaris—including trips to Zambia, Zimbabwe, Botswana, Mozambique, South Africa, and Cameroon—form the basis for Facing the Charge. A gifted storyteller, writer Scott Longman makes Mike's African stories come alive on these pages, describing in page-turning detail a tremendous range of experiences during which Mike and his colleagues faced charges from the Big Five—Cape buffalo, lion, leopard, elephant, and rhino—as well as from man-eating crocodiles, slithering pythons, vengeful baboons, and a hormonal Chevy Tahoe–sized mama hippo who had Mike squarely in her front-view mirror. In addition to adrenaline-fueled tales of big-game hunting, Facing the Chargedetails how death was a constant companion on safari in the form of terrorists, quicksand, malaria, and witchcraft, among other threats. It also analyzes how ivory traffickers have devastated the elephant population, examines the everyday hardships of life in Africa, and pays tribute to the men and women who have made Africa a second home for Mike. In her foreword, Fiona Claire Capstick, widow of legendary professional hunter and author Peter Hathaway Capstick, captures the essence of Facing the Charge, calling it "the stuff of high drama and retrospective hilarity," while also noting that it showcases the "innate skills and knowledge of the African trackers, without whom no African hunting safari would be possible." Facing the Charge will appeal to both seasoned African hunters and novices anticipating their first safari, as well as to anyone who enjoys adventure in exotic locations.

Ten Was The Deal is more than a book of stories about hunting and fishing, it offers all of the enchantment of yarns spun while sitting on the tailgate of a pickup truck; all of the lore of tales told around a campfire. Ten Was The Deal is definitely a keeper. John's stories are set in pinewoods, along Piedmont streams, in Lowcountry fields, or along the coast of the Carolinas. This volume reveals a boy's journey to manhood: turkey hunting with a grandfather, duck hunting with a dad, and sharing his first kiss with a fishing buddy.

We'll Do It Tomorrow is more than a book of tales about hunting and fishing, these stories are about the joys and sorrows of life. They will linger in your heart and leave you wishing for more. We'll Do It Tomorrow is definitely a keeper. Pull up a comfortable rocking chair, pour a steaming cup of coffee and settle in with this book. Savor these stories by John Faris as you would a tall glass of sweet tea.

Tales of pursuing turkeys, deer, ducks, and partridges through the fields, forests, and swamps of South Carolina Henry Edwards Davis (1879-1966) began his hunting adventures as a boy riding in the saddle with his father on foxhunts and deer drives in the company of Confederate cavalry veterans. Born on Hickory Grove Plantation in Williamsburg County, South Carolina, Davis developed his taste for the hunt at an early age. In later years he became a renowned sportsman and expert on sporting firearms. Published here for this first time after a four-decade-long hiatus, his collection of southern hunting tales describes his many experiences in pursuit of turkeys, deer, ducks, and partridges through the fields, forests, and swamps of South Carolina's Pee Dee region. His memoir offers a lucid firsthand account of a time before paved roads and river-spanning bridges had penetrated the rural stretches of Williamsburg and Florence counties, when hunting was still one of a southerner's chief social activities. With a sportsman's interest and a historian's curiosity, Davis intersperses his hunting narratives with tales of the region's rich history, from before the American Revolution to his times in the first half of the twentieth century. Davis, a connoisseur of fine sporting firearms, also chronicles his personal experiences with a long line of rifles and shotguns, beginning with his first "Old Betsy," a fourteen-gauge, cap-lock muzzleloader, and later with some of the finest modern American and British shotguns. He describes as well a host of small-bore rifles, many of which he assembled himself, bedding the barrels and actions in hand-carved stocks. Edited by retired lowcountry game warden Ben McC. Moïse and featuring a foreword by outdoor writer Jim Casada, Davis's memoir is a valuable account of hunting lore and historic firearms, as well as a record of evolving cultural attitudes and economic conditions in post-Reconstruction South Carolina and of the practices that gave rise to modern natural conservation efforts.

Sporting Blackness examines issues of race and representation in sports films, exploring what it means to embody, perform, play out, and contest blackness by representations of Black athletes on screen. By presenting new critical terms, Sheppard analyzes not only “skin in the game,” or how racial representation shapes the genre’s imagery, but also “skin in the genre,” or the formal consequences of blackness on the sport film genre’s modes, codes, and conventions. Through a rich interdisciplinary approach, Sheppard argues that representations of Black sporting bodies contain “critical muscle memories”: embodied, kinesthetic, and cinematic histories that go beyond a film’s plot to index, circulate, and reproduce broader narratives about Black sporting and non-sporting experiences in American society.