A new collection of stories by the master of humorous science fiction adventure, including: The full-length novel, The Day the Machines Stopped¾and what happens, not just to civilization, but to humanity and its chances of survival when all the machines stop working at once? A man is captured by aliens who are investigating the Earth as a possible target for colonization. The aliens have science and technology far in advance of humans¾but, unfortunately for them, they have never developed the human art of bluffing. For the first time in book form, Anvil's stories of Richard Verner, who is called in to solve apparently insoluble problems, such as explaining why experimental missiles keep failing for no apparent reason, or locating a kidnapped judge, or even solving an inexplicable murder that's interrupting his vacation. And much more, in a generous volume of sardonically humorous science fiction. At the publisher's request, this title is sold without DRM (Digital Rights Management).

Presents a study of political theater in the English Renaissance, discussing the differences between a public playhouse and a private, or court theater, and looking at masques and the role of king in the Renaissance court.

Pulitzer prize–winner Chris Hedges charts the dramatic and disturbing rise of a post-literate society that craves fantasy, ecstasy and illusion. Chris Hedges argues that we now live in two societies: One, the minority, functions in a print-based, literate world, that can cope with complexity and can separate illusion from truth. The other, a growing majority, is retreating from a reality-based world into one of false certainty and magic. In this “other society,” serious film and theatre, as well as newspapers and books, are being pushed to the margins. In the tradition of Christopher Lasch’s The Culture of Narcissism and Neil Postman’s Amusing Ourselves to Death, Hedges navigates this culture — attending WWF contests as well as Ivy League graduation ceremonies — exposing an age of terrifying decline and heightened self-delusion.

“The Knowledge Illusion is filled with insights on how we should deal with our individual ignorance and collective wisdom.” —Steven Pinker We all think we know more than we actually do. Humans have built hugely complex societies and technologies, but most of us don’t even know how a pen or a toilet works. How have we achieved so much despite understanding so little? Cognitive scientists Steven Sloman and Philip Fernbach argue that we survive and thrive despite our mental shortcomings because we live in a rich community of knowledge. The key to our intelligence lies in the people and things around us. We’re constantly drawing on information and expertise stored outside our heads: in our bodies, our environment, our possessions, and the community with which we interact—and usually we don’t even realize we’re doing it. The human mind is both brilliant and pathetic. We have mastered fire, created democratic institutions, stood on the moon, and sequenced our genome. And yet each of us is error prone, sometimes irrational, and often ignorant. The fundamentally communal nature of intelligence and knowledge explains why we often assume we know more than we really do, why political opinions and false beliefs are so hard to change, and why individual-oriented approaches to education and management frequently fail. But our collaborative minds also enable us to do amazing things. The Knowledge Illusion contends that true genius can be found in the ways we create intelligence using the community around us.

Kariki's political participation dates from 1952, when he pledged an oath to the allegiance of the Gikuyu tribe, the Mau Mau movement and the cause of African unity. Post-independence, he gradually progressed to being a political insider, serving in the Kenyan African National Union (KANU) and the Kenyan Government. In 1983 he was expelled from KANU - the only political party. It is from this outsider-perspective, and in this climate of fear and uncertainty, without the desired freedom of association and access to political colleagues of the period of struggle, that he nevertheless here recounts his experiences of half a century in politics. He holds the belief that political evolution is inexorable; and that knowledge about, and reflection on the past is the only way of preventing the tragedy of yet another generation repeating that which they condemned in their predecessors.

An ambitious, accessible mix of history, autobiography, and how-to manual, this anti-manifesto challenges popular concepts of radical activism. A whirlwind tour across decades - through punk and student activism, identity and lifestyle politics, animal rights, armed struggle, patriotism, globalisation and beyond - this book seeks a radicalism that is both rigorously self-critical and genuinely populist. All the Power suggests how the seemingly most idealistic of enterprises - revolution - might be practically accomplished.

Overview of Nazi cinema