Whether playing at defending their own castle or simply chucking pumpkins over a fence, wannabe marauders and tinkerers will become fast acquainted with Ludgar, the War Wolf, Ill Neighbor, Cabulus, and the Wild Donkey—ancient artillery devices known commonly as catapults. Building these simple yet sophisticated machines introduces fundamentals of math and physics using levers, force, torsion, tension, and traction. Instructions and diagrams illustrate how to build seven authentic working model catapults, including an early Greek ballista, a Roman onager, and the apex of catapult technology, the English trebuchet. Additional projects include learning how to lash and make rope and how to construct and use a hand sling and a staff sling. The colorful history of siege warfare is explored through the stories of Alexander the Great and his battle of Tyre; Saladin, Richard the Lionheart, and the Third Crusade; pirate-turned-soldier John Crabbe and his ship-mounted catapults; and Edward I of England and his battle against the Scots at Stirling Castle.

Calling all pumpkin chuckers, wannabe marauders, and tinkerers of all ages! Flinging things and playing at defending your own castle has never been more fun. Whether playing at defending their own castle or simply chucking pumpkins over a fence, wannabe marauders and tinkerers will become fast acquainted with Ludgar the War Wolf, Ill Neighbor, Cabulus, and the Wild Donkey—ancient artillery devices known commonly as catapults. Updated and improved instructions and diagrams illustrate how to build 10 authentic working model catapults, including an early Greek ballista, a Roman onager, and the apex of catapult technology, the English trebuchet. Additional projects include learning how to lash and make rope and how to construct and use a hand sling and a staff sling. Building these simple yet sophisticated machines introduces fundamentals of math and physics using levers, force, torsion, tension, and traction. The colorful history of siege warfare is explored through the stories of Alexander the Great and his battle of Tyre; Saladin, Richard the Lionheart, and the Third Crusade; pirate-turned-soldier Jon Crabbe and his ship-mounted catapults; and Edward I of England and his battle against the Scots at Stirling Castle. For the legions of Tolkien fans, budding backyard warriors, and engineering wizards, this book is a must-have.

An " enormously entertaining" (Smithsonian), " clever, subtle, and adroit" account (Wall Street Journal) of how the author and his friend constructed a medieval siege engine in a San Francisco backyard. " So funny that I could not put it down" (Los Angeles Times).

"In this delightful autofiction―the first book by Gainza, an Argentine art critic, to appear in English―a woman delivers pithy assessments of world–class painters along with glimpses of her life, braiding the two into an illuminating whole." ―The New York Times Book Review, Notable Book of the Year and Editors' Choice The narrator of Optic Nerve is an Argentinian woman whose obsession is art. The story of her life is the story of the paintings, and painters, who matter to her. Her intimate, digressive voice guides us through a gallery of moments that have touched her. In these pages, El Greco visits the Sistine Chapel and is appalled by Michelangelo’s bodies. The mystery of Rothko’s refusal to finish murals for the Seagram Building in New York is blended with the story of a hospital in which a prostitute walks the halls while the narrator’s husband receives chemotherapy. Alfred de Dreux visits Géricault’s workshop; Gustave Courbet’s devilish seascapes incite viewers “to have sex, or to eat an apple”; Picasso organizes a cruel banquet in Rousseau’s honor . . . All of these fascinating episodes in art history interact with the narrator’s life in Buenos Aires―her family and work; her loves and losses; her infatuations and disappointments. The effect is of a character refracted by environment, composed by the canvases she studies. Seductive and capricious, Optic Nerve marks the English–language debut of a major Argentinian writer. It is a book that captures, like no other, the mysterious connections between a work of art and the person who perceives it.

This text is a compilation of step-by-step instructions for how to build nine different types of catapults and trebuchets. Each set of instructions includes dimensional drawings of all wooden parts, lists of required hardware and sources, an abundance of photos, diagrams, and detailed descriptions of the assembly process.

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."