A New York Times Book Review Editors' Choice. Finalist for the Costa Biography Award and long-listed for the Andrew Carnegie Medal for Excellence. Named a Best Book of 2018 by Esquire and Foreign Policy. An Amazon Best Book of November, the Guardian Bookshop Book of November, and one of the Evening Standard's Books to Read in November "Now, thanks to Hilsum’s deeply reported and passionately written book, [Marie Colvin] has the full accounting that she deserves." --Joshua Hammer, The New York Times The inspiring and devastating biography of Marie Colvin, the foremost war reporter of her generation, who was killed in Syria in 2012, and whose life story also forms the basis of the feature film A Private War, starring Rosamund Pike as Colvin. When Marie Colvin was killed in an artillery attack in Homs, Syria, in 2012, at age fifty-six, the world lost a fearless and iconoclastic war correspondent who covered the most significant global calamities of her lifetime. In Extremis, written by her fellow reporter Lindsey Hilsum, is a thrilling investigation into Colvin’s epic life and tragic death based on exclusive access to her intimate diaries from age thirteen to her death, interviews with people from every corner of her life, and impeccable research. After growing up in a middle-class Catholic family on Long Island, Colvin studied with the legendary journalist John Hersey at Yale, and eventually started working for The Sunday Times of London, where she gained a reputation for bravery and compassion as she told the stories of victims of the major conflicts of our time. She lost sight in one eye while in Sri Lanka covering the civil war, interviewed Gaddafi and Arafat many times, and repeatedly risked her life covering conflicts in Chechnya, East Timor, Kosovo, and the Middle East. Colvin lived her personal life in extremis, too: bold, driven, and complex, she was married twice, took many lovers, drank and smoked, and rejected society’s expectations for women. Despite PTSD, she refused to give up reporting. Like her hero Martha Gellhorn, Colvin was committed to bearing witness to the horrifying truths of war, and to shining a light on the profound suffering of ordinary people caught in the midst of conflict. Lindsey Hilsum’s In Extremis is a devastating and revelatory biography of one of the greatest war correspondents of her generation.

Steve White, Vietnam vet, long-time David Weber collaborator and co-author, with Weber, of the New York Times best-seller The Shiva Option, joins with Analog contributor and military SF scholar Charles E. Gannon to carve another notch in the Starfire adventure saga. An implacable foe with telepathic cohesion in battle, near-immortality, and eons-advanced engineering skills threatens to wipe humanity from the galaxy. Whats more, theyve overcome their one weakness_no faster-than-light travel_and have followed humanity through our star gates and beyond. But humans are the master of adaption, and have got a counterpunch of devastating proportions in reserve. Now a hard-bitten and brilliant admiral must face down renewed alien attack and somehow communicate to the enemy that if he is forced to use his ultimate military option, galactic civilization itself may come to a fiery end. At the publisher's request, this title is sold without DRM (Digital Rights Management).

What is extremis, who has unleashed it, and what does its emergence portend for the world?"--P. [4] of cover.

The book addresses a weakness of current methodologies used in extreme value assessment, i.e. the assumption of stationarity, which is not given in reality. With respect to this issue a lot of new developed technologies are presented, i.e. influence of trends vs. internal correlations, quantitative uncertainty assessments, etc. The book not only focuses on artificial time series data, but has a close link to empirical measurements, in order to make the suggested methodologies applicable for practitioners in water management and meteorology.

In Extremis is hte first major biography of a major 20th century modernist.

A giant comet is hurtling toward Earth, and the world learns that all life on the planet will be obliterated in just seven days. Stanley's Comet is a gallows humor view of the precipitous decline of civil society upon the news. Events unfold from the perspective of Stanley Caldwell, a thirty-fi ve year old assistant copy shop manager who resides with his mother in Baton Rouge, Louisiana, and Dr. Herschel Stanley, an embittered junior grade NASA astronomer whose accidental discovery of the comet catapults him from obscurity to momentary notoriety. In The Third Love, the followers of Smith, an executed convict who taught that good and evil are physical qualities controlled by the laws of "the physik," acquire a nuclear weapon with the intent of putting Smith's teachings into practice. The novel is set in the near future at a time when computers and effi cient economics have relieved the majority of the need or even the opportunity to work. Instead, most pass their days in meaningless isolation watching multivision, a form of three-dimensional television and internet with a picture "more real than reality." The novel centers on the life of an ordinary guy in such a society, while following the President's political calculations that in the end coincide with the aims of the followers of Smith. Although the two novels of In Extremis are separate in conception, both are darkly humorous studies of individuals and societies under extreme stress and each explores the role of choice, chance and fate in determining the final outcome.

On the night of 24th March 1895, Mrs Robinson, a society palm-reader, agreed to see Oscar Wilde in her London flat. Wilde's lover, Lord Alfred Douglas, 'Bosie', was urging him to sue the Marquis of Queensberry (Bosie's father) for criminal libel. But Wilde's friends, wary of Queensberry's power, were warning him to leave town. In Extremis reveals the strange turmoil of that night, as a man at the height of his fame turns to a complete stranger for advice about a potentially life-changing decision. In Extremis was first presented in November 2000 at the National Theatre alongside De Profundis to mark the centenary of Oscar Wilde's death.

In this collection of darkly funny, disquieting stories, John Shirley brings his substantial talent to bear on human morality through the absurd, violent blunderings of his characters. In Extremis features more than twenty of Shirley’s most intense stories, including two never-before-published pieces that are sure to roil the genre’s most hardened readers.

Classics in Extremis reimagines classical reception. Its contributors explore some of the most remarkable, hard-fought and unsettling claims ever made on the ancient world: from the coal-mines of England to the paradoxes of Borges, from Victorian sexuality to the trenches of the First World War, from American public-school classrooms to contemporary right-wing politics. How does the reception of the ancient world change under impossible strain? Its protagonists are 'marginal' figures who resisted that definition in the strongest terms. Contributors argue for a decentered model of classical reception: where the 'marginal' shapes the 'central' as much as vice versa – and where the most unlikely appropriations of antiquity often have the greatest impact. What kind of distortions does the model of 'centre' and 'margins' produce? How can 'marginal' receptions be recovered most effectively? Bringing together some of the leading scholars in the field, Classics in Extremis moves beyond individual case studies to develop fresh methodologies and perspectives on the study of classical reception.

How can genocide be witnessed through imaginative literature? How can the Holocaust affect readers who were not there? Reading the work of major figures such as Elie Wiesel, Paul Celan, Avrom Sutzkever, Ida Fink, Wladyslaw Szlengel, Itzhak Katzenelson, and Czeslaw Milosz, Poesis in Extremis poses fundamental questions about how prose and poetry are written under extreme conditions, either in real time or immediately after the Holocaust. Framed by discussion of literary testimony, with Wiesel's literary memoir Night as an entry point, this innovative study explores the blurred boundary of fact and fiction in Holocaust literature. It asks whether there is a poetics of the Holocaust and what might be the criteria for literary witnessing. Wartime writing in particular tests the limits of “poesis in extremis” when poets faced their own annihilation and wrote in the hope that their words, like a message in a bottle, would somehow reach readers. Through Poesis in Extremis, Daniel Feldman and Efraim Sicher probe the boundaries of Holocaust literature, as well as the limits of representation.