Washington Post • 50 Notable Works of Nonfiction in 2020 Finalist • Kirkus Prize for Nonfiction Kirkus Reviews • Best Nonfiction Books of 2020 Library Journal • Best Science & Technology Books of 2020 Booklist • 10 Top Sci-Tech Books of 2020 New York Times Book Review • Editor's Choice With A Furious Sky, best-selling author Eric Jay Dolin tells the history of America itself through its five-hundred-year battle with the fury of hurricanes. In this “compelling” chronicle (New York Times Book Review), Eric Jay Dolin tells the history of America through its battles with hurricanes.Weaving together tales of tragedy and folly, of heroism and scientific progress, best-selling author Eric Jay Dolin shows how hurricanes have time and again determined the course of American history, from the nameless storms that threatened the New World voyages to our own era of global warming and megastorms. Along the way, Dolin introduces a rich cast of unlikely heroes, and forces us to reckon with the reality that future storms will likely be worse, unless we reimagine our relationship with the planet.

To frame his story, Schneiders goes back to the nineteenth-century journals of fur traders and settlers and in the record of flora, fauna, floods, and human activity he finds evidence of rapid and disruptive change. Bison once had the greatest influence on the land, and Schneiders depicts an original bison and Indian trail networks on which were overlaid the first torts and towns and then the railroads, highways, and reservoirs that reconfigured the region forever.

Come along on a great pirate adventure with hand-picked literary classics and true stories about the legendary outlaws: History of the Robberies and Murders of the Most Notorious Pirates (Captain Charles Johnson) The Book of Buried Treasure The Pirates' Own Book Treasure Island (R. L. Stevenson) Captain Blood (Rafael Sabatini) Sea Hawk (Sabatini) Blackbeard: Buccaneer (R. D. Paine) Pieces of Eight (Le Gallienne) Captain Singleton (Defoe) Gold-Bug (Edgar Allan Poe) Hearts of Three (Jack London) The Dark Frigate (C. B. Hawes) Isle of Pirate's Doom (Robert E. Howard) Swords of Red Brotherhood (Howard) Queen of Black Coast (Howard) Black Vulmea (Howard) Afloat and Ashore (James F. Cooper) Homeward Bound (Cooper) Red Rover (Cooper) Facing the Flag (Jules Verne) Pirate Gow (Daniel Defoe) The King of Pirates (Defoe) The Pirate (Walter Scott) Rose of Paradise (Howard Pyle) Captain Sharkey (Arthur Conan Doyle) The Pirate (Frederick Marryat) Three Cutters (Marryat) Madman and the Pirate (R. M. Ballantyne) The Offshore Pirate (F. Scott Fitzgerald) Martin Conisby's Vengeance (J. Farnol) Coral Island (Ballantyne) Pirate of Panama (W. M. Raine) Under the Waves (Ballantyne) Pirate City (Ballantyne) Gascoyne (Ballantyne) Captain Boldheart (Dickens) The Ways of the Buccaneers (J. Masefield) Master Key (L. Frank Baum) Black Bartlemy's Treasure (J. Farnol) A Man to His Mate (J. Allan Dunn) Tales of the Fish Patrol (Jack London) Barbarossa—King of the Corsairs (E. H. Currey) Robinson Crusoe (Defoe) Jim Davis (J. Masefield) Peter Pan and Wendy (J. M. Barrie) Mysterious Island (Jules Verne) Count of Monte Cristo (Dumas) Ghost Pirates (W. H. Hodgson) The Pagan Madonna (H. MacGrath) A Pirate of the Caribbees (H. Collingwood) The Pirate Island (H. Collingwood) The Devil's Admiral (F. F. Moore) The Pirate of the Mediterranean (W. H. G. Kingston) The Black Buccaneer (Stephen W. Meader) The Third Officer (P. Westerman) Narrative of the Capture of the Ship Derby ...

Hollywood movies are famous for promoting negative stereotypes of all kinds, especially against minorities, women, Southerners, and Christians. To what extent are biographical films selected for production according to certain biases, conscious or unconscious, among the Hollywood elite? An expert on the U.S. film industry gives readers brief synopses of Hollywood biopics produced and/ or released from 1912 through 1994. This survey provides the basis for discussion and analysis. Tracking these one-sided depictions over a longer period of time, the patterns of bias - and the source of the problem - become more clear. The problem appears to be that most of the people who have green-light authority in the U.S. film industry - for either the production and/or distribution of a motion picture - share a common ethnic/religious/cultural background. Thus, the stories of their own cohort and those of all other ethnic, religious and/or cultural groups (whose members seldom achieve positions of power in Hollywood) are being filtered through the cultural sensibilities of a single group. John Cones suggests that the solution could lie in increasing diversity at the highest levels in the U.S. film industry.