Surfing in Far Rockaway, romantic obsession, and Moby-Dick converge in this winning and refreshing memoir Justin Hocking lands in New York hopeful but adrift—he's jobless, unexpectedly overwhelmed and disoriented by the city, struggling with anxiety and obsession, and attempting to maintain a faltering long-distance relationship. As a man whose brand of therapy has always been motion, whether in a skate park or on a snowdrift, Hocking needs an outlet for his restlessness. Then he spies his first New York surfer hauling a board to the subway, and its not long before he's a member of the vibrant and passionate surfing community at Far Rockaway. But in the wake of a traumatic robbery incident, the dark undercurrents of his ocean-obsession pull him further and further out on his own night sea journey. With Moby-Dick as a touchstone, and interspersed with interludes on everything from the history of surfing to Scientology's naval ties to the environmental impact of the Iraq War, The Great Floodgates of the Wonderworld is a multifaceted and enduring modern odyssey from a memorable and whip-smart new literary voice.

In Herman Melville's classic tale of revenge, Ishmael tells his story of becoming a whaler on the Pequod. When Ishmael and his unexpected friend Queequeg join Captain Ahab's hunt for Moby Dick, the voyage of a lifetime turns into tragedy. The adventures of sailing the seas on the hunt for the great white whale is retold in the Calico Illustrated Classics adaptation of Melville's Moby Dick. Calico Chapter Books is an imprint of Magic Wagon, a division of ABDO Group. Grades 3-8.

Call me Ishmael. I have set sail on a whaling ship to try my hand at whaling. But our captain has his own prey. We have been traveling the seas looking for the white whale, Moby Dick, who causes destruction wherever he swims. Will we survive a battle with the great whale? Find out in this stunning graphic novel adaptation of Herman Melville's classic by Rod Espinosa. Creator biographies and a glossary help reluctant readers take the first step on the road to classic literature.

Presents a collection of stories that explores the heartbreak and radiance of love as it is shaped by passion, betrayal, and the echoes of intimacy.

When Amelia Morris saw a towering, beautiful chocolate cake in Bon Appétit and took the recipe home to recreate it for a Christmas day brunch she was hosting, it resulted in a terrible (but tasty) mess that had to be served in an oversize bowl. It was also a revelation. Both delicious and damaged, it seemed a physical metaphor for the many curious and unexpected situations she's found herself in throughout her life, from her brief career as a six-year-old wrestler to her Brady Bunch-style family (minus the housekeeper and the familial harmony) to her ill-fated twenty-something job at the School of Rock in Los Angeles. As a way to bring order to chaos and in search of a more meaningful lifestyle, she finds herself more and more at home in the kitchen, where she begins to learn that even if the results of her culinary efforts fall well short of the standard set by glossy food magazines, they can still bring satisfaction (and sustenance) to her and her family and friends. Full of hilarious observations about food, family, unemployment, romance, and the extremes of modern L.A., and featuring recipes as basic as Toasted Cheerios and as advanced as gâteau de crêpes, Bon Appétit is sure to resonate with anyone who has tried and failed, and been all the better for it.

“A splendidly pithy and provocative introduction to the culture of Romanticism.”—The Sunday Times “[Tim Blanning is] in a particularly good position to speak of the arrival of Romanticism on the Euorpean scene, and he does so with a verve, a breadth, and an authority that exceed every expectation.”—National Review From the preeminent historian of Europe in the eighteenth and nineteenth centuries comes a superb, concise account of a cultural upheaval that still shapes sensibilities today. A rebellion against the rationality of the Enlightenment, Romanticism was a profound shift in expression that altered the arts and ushered in modernity, even as it championed a return to the intuitive and the primitive. Tim Blanning describes its beginnings in Rousseau’s novel La Nouvelle Héloïse, which placed the artistic creator at the center of aesthetic activity, and reveals how Goethe, Goya, Berlioz, and others began experimenting with themes of artistic madness, the role of sex as a psychological force, and the use of dreamlike imagery. Whether unearthing the origins of “sex appeal” or the celebration of accessible storytelling, The Romantic Revolution is a bold and brilliant introduction to an essential time whose influence would far outlast its age. “Anyone with an interest in cultural history will revel in the book’s range and insights. Specialists will savor the anecdotes, casual readers will enjoy the introduction to rich and exciting material. Brilliant artistic output during a time of transformative upheaval never gets old, and this book shows us why.”—The Washington Times “It’s a pleasure to read a relatively concise piece of scholarship of so high a caliber, especially expressed as well as in this fine book.”—Library Journal

Shadow of the Third Century: A Revaluation of Christianity, first published in 1949, begins with the assertions that a true history of Christianity has never before been written and that the roots of the Christian religion lie in earlier religions and philosophies of the ancient world. The author, Alvin Boyd Kuhn, asserts that Christianity as we know it took the form it did due to a degeneration of knowledge rather than to an energization produced by a new release of light and truth into the world. In the ancient world, knowledge was commonly passed down by esoteric traditions, its inner meaning known only to the initiated. The Gospels, according to Kuhn, should therefore be understood as symbolic narratives rather than as history. Sacred scriptures are always written in a language of myth and symbol, and the Christian religion threw away and lost their true meaning when it mistranslated this language into alleged history instead of reading it as spiritual allegory. This literalism necessarily led to a religion antagonistic toward philosophy. Moreover, it produced a religion that failed to recognize its continuity with, and debt to, earlier esoteric schools. As evidence of this, Kuhn finds that many of the gospel stories and sayings have parallels in earlier works, in particular those of Egypt and Greece. The transformation of Jesus’ followers into Pauline Christians drew on these sources. Moreover, the misunderstanding of true Christianity led to the excesses of misguided asceticism. Overall, the book seeks to serve as a “clarion call to the modern world to return to the primitive Christianity which the founder of Christian theology, Augustine, proclaimed had been the true religion of all humanity.” With its many citations from earlier works, Shadow of the Third Century also serves as a bibliographic introduction to alternative histories of Christianity.

It was an obsession that would destroy them all. On a cold December night, a young man called Ishmael rents a room at an inn in Massachusetts. He has come from Manhattan to the north-east of America to sign up for a whaling expedition. Later that same night, as Ishmael is sleeping, a heavily tattooed man wielding a blade enters his room. This chance meeting is just the start of what will become the greatest adventure of his life. The next day, Ishmael joins the crew of a ship known as the Pequod. He is approached by a man dressed in rags who warns him that, if he sails under the command of Captain Ahab, he may never come back. Undaunted, Ishmael returns early the next morning and leaves for the high seas. For the crew of the Pequod, their voyage is one of monetary gain. For Captain Ahab, however, it is a mission driven by hatred, revenge, and his growing obsession with the greatest creature of the sea.

This work provides an illustrated interpretation of Herman Melville's Moby-Dick. While filling our eyes with archetypal visions of whales, ships and ocean deeps, Robert Del Tredici also dazzles us with shimmering pyrotechnics of narrator Ishmael's mind. His large-format colour silkscreens and pen-and-ink illustrations let us see Melville's masterpiece as if for the first time. This postmodern take on the great American novel boldly returns readers to the book's roots as a trancendental vision of man and nature.