The Dirty Harold is a book of a lifetime...it may not take a lifetime to fully read it, but to grasp it...but maybe you get it as soon as you can say Jack Robinson, even if Jack Robinson is new to you.So you can rely on the fact that the Ultra-Short Stories in this book change your perspective on short stories and not only on short stories, as long stories just take too much time to fully read them in our restless times. This much The Dirty Harold can tell you, as his Ultra-Short Stories are loaded with dynamite, sometimes shimmering, sometimes humorous, sometimes bizarre, and sometimes just dynamite, but always something to think about. Welcome to the Underworld of Literature!

"Street provides a crucial critical and cultural service by not only studying Eastwood's individual films in sharp detail but also by providing a close and serious analysis of the cultural and historic times of the films."--Sam B. Girgus, author of Clint Eastwood's America "By far the most comprehensive, sustained, and detailed discussion of the Dirty Harry phenomenon. A thorough and engaging account of how a fictitious renegade cop became an enduring icon of the angry conservative backlash that sought to halt 1960s liberalism in its tracks."--Nick Heffernan, author of Culture, Environment and Ecopolitics Clint Eastwood's Dirty Harry became the prototype for a new kind of movie cop--an antihero in pursuit of his own vision of justice. The Dirty Harry series helped cement Eastwood and his character, Harry Callahan, as central figures in 1970s and 1980s Hollywood cinema. In Dirty Harry's America, Joe Street argues that the movies shed critical light on the culture and politics of the post-1960s era and locates San Francisco as the symbolic cultural battleground of the time. Across the entire series, conservative anger and moral outrage confront elitist liberalism and moral relativism. Paying particular attention the films' representation of crime, family and community, sexuality, and race, Street maintains that through referencing real events and political struggles, the films themselves became active participants in the culture wars. Unapologetic carrier of right and might, Harry Callahan becomes America's Ur-conservative: "unbending, moral, incorruptible, and most important, always right." Long after the series, Callahan's legacy remains strong in American political discourse, cinema, and pop culture, and he continues to shape Eastwood's later political and cinematic career.

There's never been another dog as delightful–or dirty–as Harry. This lovable white dog with black spots (or black dog with white spots) has charmed children for fifty years, and we are celebrating with an anniversary edition. This childhood favourite is perfect for reading aloud before going to bed or avoiding a bath.

Harry Niles, a disreputable American nightclub owner with a mysterious agenda, seeks to abandon his life in Tokyo while desperately trying to flee to the West on the last flight out before the Pearl Harbor attack. Reprint.

Harold's end is a street hustler power ballad from San Francisco novelist JT Leroy. A young boy finds solace in a gift from an older, seemingly compassionate man. As with other Leroy stories, it goes from dark to incomprehensibly black. Internationally renowned Australiam artist Cherry Hood has created eight unique watercolour paintings based on the character descriptions in the story.

Harry, a friendly little dog on a visit to the seashore, is mistaken for a sea serpent when a big wave covers him with seaweed. ‘Very few children can resist [the stories about] Harry. The ridiculous but somehow plausible situations capture even the most reluctant reader.’ —SLJ. Chidlren's Books of 1965 (Library of Congress)

“Street provides a crucial critical and cultural service by not only studying Eastwood’s individual films in sharp detail but also by providing a close and serious analysis of the cultural and historic times of the films.”—Sam B. Girgus, author of Clint Eastwood’s America “By far the most comprehensive, sustained, and detailed discussion of the Dirty Harry phenomenon. A thorough and engaging account of how a fictitious renegade cop became an enduring icon of the angry conservative backlash that sought to halt 1960s liberalism in its tracks.”—Nick Heffernan, author of Culture, Environment and Ecopolitics Clint Eastwood’s Dirty Harry became the prototype for a new kind of movie cop—an antihero in pursuit of his own vision of justice. The Dirty Harry series helped cement Eastwood and his character, Harry Callahan, as central figures in 1970s and 1980s Hollywood cinema. In Dirty Harry’s America, Joe Street argues that the movies shed critical light on the culture and politics of the post-1960s era and locates San Francisco as the symbolic cultural battleground of the time. Across the entire series, conservative anger and moral outrage confront elitist liberalism and moral relativism. Paying particular attention the films' representation of crime, family and community, sexuality, and race, Street maintains that through referencing real events and political struggles, the films themselves became active participants in the culture wars. Unapologetic carrier of right and might, Harry Callahan becomes America’s Ur-conservative: “unbending, moral, incorruptible, and most important, always right.” Long after the series, Callahan’s legacy remains strong in American political discourse, cinema, and pop culture, and he continues to shape Eastwood’s later political and cinematic career.

The explosive story of the illegal gold trade from South America, and the three Miami businessmen who got rich on it—until it all came crashing down. In March of 2017, a team of federal agents arrested Juan Pablo Granda, Samer Barrage, and Renato Rodriguez, or as they came to be known, "the three amigos." The trio—first identified publicly by the authors of this book—had built a $3.6 billion dollar business in metals trading, mostly illegal Peruvian gold mined in the rain forest. Their arrest and subsequent prosecution laid bare more than a scheme between a few corrupt traders. Dirty Gold lifts the veil on a massive and very illegal international business that is more lucrative than trafficking cocaine, and often just as dangerous. As this award-winning team of current and former Miami Herald reporters shows, illegal gold mines have become a haven for Latin American drug money. The gold is sold to metals traders, and ultimately to scores of unwitting Americans in their jewelry and phones. By following the trail of these three traders, Dirty Gold leads us into a sprawling criminal underworld that has never before been in full view.