The story of Lieutenant Hugh Barr Miller, marooned on a South Pacific island, and his one-man war against Japanese forces

Shipwrecked on a South Pacific island, a young US Navy lieutenant waged a one-man war against the Japanese In the early hours of July 5, 1943, the destroyer USS Strong was hit by a Japanese torpedo. The powerful weapon broke the destroyer's back, killed dozens of sailors, and sparked raging fires. While accompanying ships were able to take off most of Strong's surviving crewmembers, scores went into the ocean as the once-proud warship sank beneath the waves--and a young officer's harrowing story of survival began. Lieutenant Hugh Barr Miller, a pre-war football star at the University of Alabama, went into the water as the vessel sank. Severely injured, Miller and several others survived three days at sea and eventually landed on a Japanese-occupied island. The survivors found fresh water and a few coconuts, but Miller, suffering from internal injuries and believing he was on the verge of death, ordered the others to go on without him. They reluctantly did do, believing, as Miller did, that he would be dead within hours. But Miller didn't die, and his health improved enough for him to begin searching for food. He also found the enemy--Japanese forces patrolling the island. Miller was determined to survive, and so launched a one-man war against the island's occupiers. Based on official American and Japanese histories, personal memoirs, and the author's exclusive interviews with many of the story's key participants, The Castaway's War is a rousing story of naval combat, bravery, and determination.

Ship to shore! Or whatever that expression is... Yup, still here on this dumb island, and still no sign of rescue. Feels like all we've been doing is hauling firewood around and gathering food. Cleaning up an island is one thing, but this is not what I signed up for! Anyway, now we're planning a dance, if you can believe that. The sky looks a little overcast, but the dance might be fun (even though it was Evil Angela's idea). Especially since I'm trying to figure out whether Josh likes me or not. If only Kenny would stop bugging me, things might be okay. I mean, seriously, what else could go wrong?

A WHIRLWIND IN TIME It was a storm to end all storms, and when it was over Sebastian Foster and his five unexpected house guests--all refugees from the fury of the wind and rain--should have been happy just to be alive. But when the clouds finally cleared, the world outside Bass's home was no longer the twentieth-century America they all knew. Instead, through some bizarre twist in time, the six of them had ended up in England's past. But it was a past that never existed in any history book, a place where the Church was waging a holy war to depose Arthur III and make his nephew king of England and Wales. Thrust into this barbaric world of bloody combat, the time travelers were quick to realize that their modern weapons and knowledge could change the whole course of this England's future--and maybe help them find their way home again--if the warring factions didn't destroy them before they even had a chance to get started...

Tarzan becomes stranded on an island inhabited by the members of the ancient Mayan Civilization…

The book is a UNIQUE movie film guide of seagoing and related films from 1930 to 2020. Included are four hundred Navy, Marine, Coast Guard, Merchant Marine movies of all genres - historical, classic, adventure, drama, comedy, musical, wartime productions from Hollywood and the U.K. Each film listed has its title alphabetically in order with the year distributed and the Distributor/Producer. Next are the Director, the Cast, and a Playbook. Films portray all types of ships big and small - liners, warships, submarines, freighters, yachts, sail, craft, fishing types, cutters. “ALL’S FAIR IN LOVE AND WAR!" Pirates, NAVY Seals, U-boats, shipwrecks, mutiny, sea battles, lifeboats, carriers, whalers, deserted islands : all and more are shown in these films, mostly in times past. The reference book is a must for all kinds of sailors and sea lovers to recall their favorites, and to learn about new movies they missed.

This is the first anthology that examines the TV sitcom in terms of its treatment of gender, family, class, race, and ethnic issues. The selections range from early shows such as I Remember Mama (George Lipsitz’s “Why Remember Mama? The Changing Face of a Woman’s Narrative”) to the more recent Roseanne (Kathleen Rowe Karlyn’s “Roseanne: Unruly Woman as a Domestic Goddess”). The volume also looks unflinchingly at major controversies; for example, the NAACP boycott of the stereotypical yet wildly popular Amos ‘n’ Andy and the queer reading of Laverne and Shirley. These diverse essays constitute a veritable history of postwar American mores. Some are classic, some forgotten, but all indicate the importance of considering text and subtext (social, historic, industrial) in the critical study of television. A final chapter by Joanne Morreale bids sitcoms adieu with the “cultural spectacle of Seinfeld’s last episode.”