Set on board the British ship Archimedes, which is bound for the Far East from Norfolk, Virginia, via the Panama Canal. When the crew suddenly find themselves in the middle of a violent hurricane the book looks at how the different characters respond.

The Archimedes is a modern merchant steamship in tip-top condition, and in the summer of 1929 it has been picking up goods along the eastern seaboard of the United States before making a run to China. A little overloaded, perhaps—the oddly assorted cargo includes piles of old newspapers and heaps of tobacco—the ship departs for the Panama Canal from Norfolk, Virginia, on a beautiful autumn day. Before long, the weather turns unexpectedly rough—rougher in fact than even the most experienced members of the crew have ever encountered. The Archimedes, it turns out, has been swept up in the vortex of an immense hurricane, and for the next four days it will be battered and mauled by wind and waves as it is driven wildly off course. Caught in an unremitting struggle for survival, both the crew and the ship will be tested as never before. Based on detailed research into an actual event, Richard Hughes’s tale of high suspense on the high seas is an extraordinary story of men under pressure and the unexpected ways they prove their mettle—or crack. Yet the originality, art, and greatness of In Hazard stem from something else: Hughes’s eerie fascination with the hurricane itself, the inhuman force around which this wrenching tale of humanity at its limits revolves. Hughes channels the furies of sea and sky into a piece of writing that is both apocalyptic and analytic. In Hazard is an unforgettable, defining work of modern adventure.

“Twilight in Hazard paints a more nuanced portrait of Appalachia than Vance did...[Maimon] eviscerates Vance's bestseller with stiletto precision.” —Associated Press From investigative reporter and Pulitzer Prize finalist Alan Maimon comes the story of how a perfect storm of events has had a devastating impact on life in small town Appalachia, and on the soul of a shaken nation . . . When Alan Maimon got the assignment in 2000 to report on life in rural Eastern Kentucky, his editor at the Louisville Courier-Journal told him to cover the region “like a foreign correspondent would.” And indeed, when Maimon arrived in Hazard, Kentucky fresh off a reporting stint for the New York Times’s Berlin bureau, he felt every bit the outsider. He had landed in a place in the vice grip of ecological devastation and a corporate-made opioid epidemic—a place where vote-buying and drug-motivated political assassinations were the order of the day. While reporting on the intense religious allegiances, the bitter, bareknuckled political rivalries, and the faltering attempts to emerge from a century-long coal-based economy, Maimon learns that everything—and nothing—you have heard about the region is true. And far from being a foreign place, it is a region whose generations-long struggles are driven by quintessentially American forces. Resisting the easy cliches, Maimon’s Twilight in Hazard gives us a profound understanding of the region from his years of careful reporting. It is both a powerful chronicle of a young reporter’s immersion in a place, and of his return years later—this time as the husband of a Harlan County coal miner’s daughter—to find the area struggling with its identity and in the thrall of Trumpism as a political ideology. Twilight in Hazard refuses to mythologize Central Appalachia. It is a plea to move past the fixation on coal, and a reminder of the true costs to democracy when the media retreats from places of rural distress. It is an intimate portrait of a people staring down some of the most pernicious forces at work in America today while simultaneously being asked: How could you let this happen to yourselves? Twilight in Hazard instead tells the more riveting, noirish, and sometimes bitingly humorous story of how we all let this happen.

Today, hazardous work kills 2.3 million people each year and injures millions more. Among the most compelling yet controversial forms of legal protection for workers is the right to refuse unsafe work. The rise of globalization, precarious work, neoliberal politics, attacks on unions, and the idea of individual employment rights have challenged the protection of occupational health and safety for workers worldwide. In Hazard or Hardship, Jeffrey Hilgert presents the protection of refusal rights as a moral and a human rights question. Hilgert finds that the protection of the right to refuse unsafe work, as constituted under international labor standards, is a failure and calls for a reexamination of worker health and safety policy from the ground up. The current model of protection follows an individual employment rights framework, which fails to protect workers against the inherent social inequalities within the employment relationship. To adequately protect the right to refuse as a human right, both in North America and around the world, Hilgert argues that a broader protection must be granted under a freedom of association framework. Hazard or Hardship will be a welcome resource for labor and environmental activists, trade union leaders, labor lawyers and labor law scholars, industrial relations experts, human rights advocates, public health professionals, and specialists in occupational safety and health.

Half-Hazard is the Winner of the Emily Dickinson First Book Award from the Poetry Foundation for a debut by an American poet over forty. Half-Hazard is a book of near misses, would-be tragedies, and luck. As Kristen Tracy writes in the title poem, “Dangers here. Perils there. It’ll go how it goes.” The collection follows her wide curiosity, from growing up in a small Mormon farming community to her exodus into the forbidden world, where she finds snakes, car accidents, adulterers, meteors, and death-marked mice. These wry, observant narratives are accompanied by a ringing lyricism, and Tracy’s knack for noticing what’s so funny about trouble and her natural impulse to want to put all the broken things back together. Full of wrong turns, false loves, quashed beliefs, and a menagerie of animals, Half-Hazard introduces a vibrant new voice in American poetry, one of resilience, faith, and joy.

The Environment as Hazard offers an understanding of how people around the world deal with dramatic fluctuations in the local natural systems of air, water, and terrain. Reviewing recent theoretical and methodological changes in the investigation of natural hazards, the authors describe how research findings are being incorporated into public policy, particularly research on slow cumulative events, technological hazards, the role played by social systems, and the relation of hazards theory to risk analysis. Through vivid examples from a broad sample of countries, this volume illuminates the range of experiences associated with natural hazards. The authors show how modes of coping change with levels of economic development by contrasting hazards in developing countries with those in high income countries - comparing the results of hurricanes in Bangladesh and the United States, and earthquakes in Nicaragua and California. In new introductory and concluding chapters that supplement the original text, the authors present new global data sets, as well as a trenchant discussion of implications of hazards research for the International Decade for Natural Disaster Reduction and for attempts by the world community to come to grips with the threats of climate change.

A kid filled with rage, suspended from the football team for unsportsmanlike conduct, and his father, newly home from the war in Afghanistan, reckon with the injuries they’ve caused to others and themselves in this unflinching middle grade novel in verse about love and forgiveness. Hazard’s a military kid, best known for his prowess at football, and his short fuse. His dad’s been in Afghanistan, third tour. The worry and the pressure over school and his dad are getting to Hazard until one day, the fuse sets off and the repercussions have him benched for six games and assigned to go to therapy. Which is where his dad is as well, at Walter Reed Medical Center, because he’s home now—well, most of him. Hazard’s dad’s now learning to walk with a prosthetic, but that’s not his primary injury. His worst wound is a moral injury: what he did on the battleground that he may never be able to forgive himself for. As part of Hazard’s therapy, he has to trace back the causes of his own anger by tracing back his father’s journey, through letters and emails and texts, so that he can come to terms with what he himself has done—his own moral injury—and help his father overcome his own.

No one can complain that in this story Mr. Howells has taken his type from the commonplace. It is a study of life in New York, and the author has brought together such a gallery of odd and strongly differentiated characters as could perhaps be found in no other city on the continent, while the conditions and phases of social life represented are not less distinctive and peculiar. The Marches, it is true, are from Boston, but they serve the purpose of external points of observation, whence to note and sufficiently to emphasize those features of our city life which of necessity strike strangers and outsiders most forcibly and with the greatest freshness of suggestion. A new magazine is founded with the money of old Dryfoos, a "natural gas millionaire," whose primary object is to give his son Conrad — a youth of saint-like character and dominant altruism — opportunity to become a businessman. The prime mover of the venture is Fulkerson, a true Western Yankee, if the phrase be allowable, whose engaging impudence, fluent slang, indomitable assurance, and substantial loyalty and goodness of heart are sure to make him as great a favorite with the reader as he is with all who know him in the story. The Marches, too, are fantastic, and nowhere has Mr. Howells better presented that peculiar American humor which finds motives for half-sarcastic jest and quip in even the most serious things, less out of lightness of heart than from an almost desperate conscious ness of hopeless incongruities and perplexities inherent in the general scheme. The picture is in itself a condemnation of and protest against that rank growth of naked materialism which is the most depressing feature of our time. The character and the faults of society are shown plainly but temperately — the spirit of levity, the love of spectacle, the repugnance to serious thinking, the absence of jealousy of popular rights, constantly encroached upon, ignored and subordinated to selfish corporate or individual interests. The aspects of the city are also most graphically and admirably described in many a wandering of the Marches, and the book exhibits an amount of local study undertaken by the author which speaks well for his conscientiousness, and adds much to the charm and permanent interest of the story. There is, as we have intimated, an unwonted variety and an unwonted force in " A Hazard of New Fortunes." If it can hardly be said to have a dominant note, it is none the less a faithful and carefully elaborated study of New York life, and it presents some of the most salient characteristics of that life in a very impressive and artistic manner. Most readers will, we think, agree with us that the change in method here shown is a change for the better. Never, certainly, has Mr. Howells written more brilliantly, more clearly, more firmly, or more attractively, than in this instance. The reversion to these strong individualizations seems to have put new vigor into his hands, and he deals with the deeper tragedies, the graver emotions of life, with a power which may perhaps be regarded as a practical demonstration of the ultimate supremacy destined to be attained by Nature over Art ; by the true over the false Realism.

From a five-time Spur Award-winning author comes the latest tale of Page Murdock, which takes readers into a hell more decadent, corrupt, and dangerous than even Murdock has ever seen--San Francisco's Barbary Coast.

Hazard and Perry County have enjoyed a long and colorful history since founder Elijah Combs first settled in the area in 1795. The years have brought a multitude of changes, explored in this engaging visual history. Contained within these pages are vintage photographs depicting the history of an American small town that has always fancied itself a city. Images were culled from the collection at the Bobby Davis Museum, which includes selected photographs from John Kinner, Hal Cooner, L.O. Davis, and others. This work traces the area's development from an isolated mountain village to a center of Eastern Kentucky commerce and culture. Recorded in these images are the devastating floods that often threatened the community, as well as the building of the railroad that brought in everything from automobiles and telephones to Sears and Roebuck prefabricated homes. Aerial shots from the 1940s and 1950s are also included, and accompanying captions document the names and places familiar to oldtimers and intriguing to newcomers in Hazard, Perry County.