A history of the famous cartoon family unravels twenty-five years of Simpsons facts and fun from the TV show and presents them in a chronological format.

In 2006, HarperCollins announced the publication of a book in which O.J. Simpson told how he hypothetically would have committed the murders of Ron Goldman and Nicole Brown Simpson, a crime for which he was found not guilty. In response to public outrage, the book was never published. Here is the original manuscript of the book.

First published by the New York Public Library in 1946, Black's The Surnames of Scotland has long established itself as one of the great classics of genealogy. Arranged alphabetically, each entry contains a concise history of the family in question (with many cross-references), making it an indispensable tool for those researching their own family history, as well as readers with a general interest in Scottish history. An informative introduction and glossary also provide much useful information.

Solomon Grout Simpson, son of Joseph Simpson and Caroline Grout, was born in 1843 in Quebec. He married Mary James Macon Garrard, daughter of William Montjoy Garrard, in 1876 in Carson City, Nevada. They moved to Seattle, Washington in 1878. He founded the Simpson Logging Company in 1895 in Mason County, Washington. Solomon died in 1906 and the company was taken over by Mark Edward Reed (1866- ), son of Thomas Milburne Reed and Elizabeth Finley. Mark married Irene Simpson in 1901.

Examines the treatment of religion and spirituality in the animated television series, including its depiction of God, Jesus, heaven, hell, and prayer in chapters devoted to Homer, Lisa, Ned, Reverend Lovejoy, Krusty, and Apu.

A fascinating study of institutional knowledge practices

Psychologists turn their attention to The Simpsons, one of America's most popular and beloved shows, in these essays that explore the function and dysfunctions of the show's characters. Designed to appeal to both fans of the show and students of psychology, this unique blend of science and pop culture consists of essays by professional psychologists drawn from schools and clinical practices across the country. Each essay is designed to be accessible, thoughtful, and entertaining, while providing the reader with insights into both The Simpsons and the latest in psychological thought. Every major area of psychology is covered, from clinical psychology and cognition to abnormal and evolutionary psychology, while fresh views on eclectic show topics such as gambling addiction, Pavlovian conditioning, family therapy, and lobotomies are explored.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series like The Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstonesand The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say. Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.