The year is 1992. Yugoslavia's disintegration into a swirl of ethnic violence draws both East and West to the brink of Armageddon as armies deploy and fleets maneuver. Political intrigue in Moscow and Washington ensnare both the Soviet Politburo and the American President. In the zero-sum game of the Cold War, neither side can afford to blink or back down. A conflict nearly fifty years in the making spills from boardrooms and back alleys into open battle on land, sea, and the air. The showdown of the century is here, East versus West with the fate of the world at stake.

Schuyler Van Alen wants an explanation for the mysterious deaths of young vampires. With her best friend, Oliver, Schuyler travels to Italy in the hope of finding the one man who can help—her grandfather. Meanwhile, back in New York, preparations are feverishly underway for the Four Hundred Ball, an exclusive gala hosted by the city's wealthy, powerful, and unhuman—a true Blue Blood affair. But it's at the after-party, a masquerade ball thrown by the cunning Mimi Force, that the real danger lurks. Hidden behind the masks is a revelation that will forever change the course of a young vampire's destiny.

German cinema of the Third Reich, even a half-century after Hitler's demise, still provokes extreme reactions. "Never before and in no other country," observes director Wim Wenders, "have images and language been abused so unscrupulously as here, never before and nowhere else have they been debased so deeply as vehicles to transmit lies." More than a thousand German feature films that premiered during the reign of National Socialism survive as mementoes of what many regard as film history's darkest hour. As Eric Rentschler argues, however, cinema in the Third Reich emanated from a Ministry of Illusion and not from a Ministry of Fear. Party vehicles such as Hitler Youth Quex and anti-Semitic hate films such as Jew Süss may warrant the epithet "Nazi propaganda," but they amount to a mere fraction of the productions from this era. The vast majority of the epoch's films seemed to be "unpolitical"--melodramas, biopix, and frothy entertainments set in cozy urbane surroundings, places where one rarely sees a swastika or hears a "Sieg Heil." Minister of propaganda Joseph Goebbels, Rentschler shows, endeavored to maximize film's seductive potential, to cloak party priorities in alluring cinematic shapes. Hitler and Goebbels were master showmen enamored of their media images, the Third Reich was a grand production, the Second World War a continuing movie of the week. The Nazis were movie mad, and the Third Reich was movie made. Rentschler's analysis of the sophisticated media culture of this period demonstrates in an unprecedented way the potent and destructive powers of fascination and fantasy. Nazi feature films--both as entities that unreeled in moviehouses during the regime and as productions that continue to enjoy wide attention today--show that entertainment is often much more than innocent pleasure.

This meticulously edited sea adventure collection is formatted for your eReader with a functional and detailed table of contents: Randall Parrish: Wolves of the Sea Charles Boardman Hawes: The Dark Frigate The Mutineers Rafael Sabatini: Captain Blood The Sea-Hawk Captain Charles Johnson: The History of Pirates R. L. Stevenson: Treasure Island Jack London: The Sea Wolf The Mutiny of the Elsinore A Son of the Sun Daniel Defoe: Robinson Crusoe Captain Singleton Tobias Smollett: The Adventures of Roderick Random Walter Scott: The Pirate Frederick Marryat: Mr. Midshipman Easy Masterman Ready; Or, The Wreck of the "Pacific" Edgar Allan Poe: The Narrative of Arthur Gordon Pym of Nantucket James Fenimore Cooper: The Pilot: A Tale of the Sea The Red Rover Afloat and Ashore: A Sea Tale Miles Wallingford Homeward Bound; Or, The Chase: A Tale of the Sea Thomas Mayne Reid: The Ocean Waifs: A Story of Adventure on Land and Sea Victor Hugo: Toilers of the Sea Herman Melville: Redburn White-Jacket Moby Dick Benito Cereno R. M. Ballantyne: The Coral Island: A Tale of the Pacific Ocean Fighting the Whales Jules Verne: The Voyages and Adventures of Captain Hatteras In Search of the Castaways; Or, The Children of Captain Grant 20 000 Leagues under the Sea Dick Sand: A Captain at Fifteen An Antarctic Mystery L. Frank Baum: Sam Steele's Adventures on Land and Sea Joseph Conrad: The Nigger of the 'Narcissus' Lord Jim Typhoon The Shadow Line The Arrow of Gold Rudyard Kipling: Captains Courageous Ralph Henry Barbour: The Adventure Club Afloat Jeffery Farnol: Black Bartlemy's Treasure Martin Conisby's Vengeance Henry De Vere Stacpoole The Blue Lagoon The Garden of God

In highlighting the crucial contributions of diasporic people to British cultural production, this important collection defamiliarizes prevailing descriptions of Romanticism as the expression of a national character or culture. The contributors approach the period from the perspective of the Atlantic maritime economy, making a strong case for viewing British Romanticism as the effect of myriad economic and cultural exchanges occurring throughout a circum-Atlantic world driven by an insatiable hunger for sugar and slaves. Typically taken for granted, the material contributions of slaves, sailors, and servants shaped Romanticism both in spite of and because of the severe conditions they experienced throughout the Atlantic world. The essays range from Sierra Leone to Jamaica to Nova Scotia to the metropole, examining not only the desperate circumstances of diasporic peoples but also the extraordinary force of their creativity and resistance. Of particular importance is the emergence of race as a category of identity, class, and containment. Race, Romanticism, and the Atlantic explores that process both economically and theoretically, showing how race ensures the persistence of servitude after abolition. At the same time, the collection never loses sight of the extraordinary contributions diasporic peoples made to British culture during the Romantic era.