“A window into Canada's role in the making of Ernest Hemingway in clear, clean prose.” — Lee Gowan, author of The Beautiful Place Sent to cover bank robber Red Ryan’s daring prison break, a young Ernest Hemingway becomes fascinated with the convict. In 1923, Ernest Hemingway, struggling with the responsibilities of marriage and unexpected fatherhood, has just made a big mistake. He decided that for the baby’s first year he would interrupt his fledgling writing career in Paris and move his family to North America. No longer a freelancer, he now has a gruelling job with a difficult boss, as a staff reporter for the Toronto Daily Star. On his first day, already feeling hemmed in by circumstances, he’s sent to cover a prison break at Kingston Pen. The escaped convicts, led by notorious bank robber Norman “Red” Ryan, are on the run, making their way from the bush north of Kingston, to the streets of Toronto, and then through towns and cities across the United States. Their crimes become more brazen, their lifestyle increasingly glamorous. Growing more and more preoccupied with Ryan and his willingness to risk everything to be free, Hemingway ponders duty, freedom, and what stops a man from pursuing his dreams.

"A breathless adventure both starry-eyed and cool-blooded, both charming and diabolical." --A.J. FINN, #1 New York Times bestselling author of The Woman in the Window "Crackling with full-throttle tension . . . An electrifying novel." --ROBERT CRAIS, author of the bestselling Elvis Cole novels An epic Vegas heist. A high-octane international romance. A charismatic thief forced to orchestrate one final, treacherous job to save his family. When Alex Cassidy and Diane Alison meet at a party in Princeton, New Jersey, the chemistry between them is instant and undeniable. She's a single mother, local fixture, and owner of a successful catering company. He's a single father and weekend homeowner -- and leader of an armed-robbery crew that just pulled off a record-breaking, precision jewel heist in Las Vegas. Neither one realizes that their lives have overlapped before, and that the shared history they uncover will threaten everyone they love. Swept up in their burgeoning relationship, Diane joins Alex at his beach house in Tulum, where Alex decides to leave his life of crime behind. It begins as a postcard-perfect weekend until an entanglement with a powerful cartel forces Alex to mastermind one final and unthinkably dangerous job. What ensues is an explosive, adrenaline-soaked journey through the moneyed landscapes of Mexico and Europe, where ghosts from the past collide with unexpected perils in the present. As Alex and Diane fight for their lives, they discover that they're not the only ones with secrets--and that those closest to us pose the greatest danger of all. Propulsive, deeply suspenseful, and layered with mesmerizing twists, Love and Theft is a sophisticated thriller about the illusion of control and the high price of past transgressions.

There is a fundamental disconnection between the way business people speak and real people communicate. From advertisers, big business and CEOs - the blather is coming at us in waves. The International Language of Business is no longer English - it's gobbledygook. The authors blindly discovered the enormity of the problem in June 2003 with the launch of Bullfighter, an anti-jargon software tool. But jargon is just one symptom in a larger problem afflicting corporate communications today: the wholesale inability to connect with an audience. In the form of admirably straight-talk, we discover how to avoid the 'obscurity trap', 'the anonymity trap', the 'hard-sell trap' and most importantly, 'the tedium trap'. In this witty and practical new book readers are given all the tools they need to fight the 'spin' and learn to speak like the rest of us.

'Whether or not the artistic quality of the bullfight outweighs the moral question of the animals' suffering is something that each person must decide for themselves - as they must decide whether the taste of a steak justifies the death of a cow. But if we ignore the possibility that one does outweigh the other, we fall foul of the charge of self-deceit and incoherence in our dealings with animals.' Alexander Fiske-Harrison In a remarkable and controversial book Fiske-Harrison follows the tracks of a whole bullfighting year in Spain. He trains and takes part in the sport himself. He gives us memorable portraits of bull-fighters and bulls, of owners, trainers and fans - of a whole country. Fiske-Harrison offers a fully rounded and involving portrait of an art as performed for centuries and of the arguments that dog it today.

Ernest Hemingway, best-known to layman and aficionado alike, in his fiction described bullfighting, or "toreo, "as a cross between romantic risk and a drunken party, or as an elaborate substitute for war, ending in wounds or death. Although his descriptions of the "beauty"in "toreo "are lyrical, they are short on imaginative creation of how such beauty, through techniques and discipline, comes about. Hemingway may have sculpted a personal mystique of "toreo "but, in the opinion of some, he ignored or slighted the full, unique nature of the subject. In "Bullfighting: Art, Technique, and Spanish Society "John McCormick sorts through the complexities of "toreo, "to suggest the aesthetic, social, and moral dimensions of an art that is geographically limited, but universal when seen in round. While having felt the attraction of Hemingway's approach, McCormick knew that he was being seduced by elements that had little to do with "toreo. "To try to right Hemingway's distortions, he named the first edition of this book "The Complete Aficionado, "but then realized that the volume was directed at more than just the spectator: "BullFighting "is written from the point of view of the "torerro, "as opposed to the usual spectator's impressions and enthusiasm. With the help of a retired "matador de toros, "Mario Sevilla Mascarenas, who taught McCormick the rudiments of "toreo "as well as the emotions and discipline essential to survival, the authors rescue "'toreo "from romantic cliches. They probe the anatomy of the matador's training and technique, provide a past-and-present survey of the traditions of the "corrida, "and furnish dramatic portraits of such famous figures as Manolete, Joselito, Belmonte, and Ordonez. Here then is an informed analysis and critique of the origins and myths of "toreo "and a survey of the novels it has inspired. Defending the faith in a lively as well as clear and discerning manner, this volume provides a committed and vivid approach to the rich history, ritual, and symbolism of the bullfight as it currently exists.

"In this book, the author examines the character oft he fighting bull, how it is bred, the career of the matador, and what actually happens during bullfights, relating these facts to deeply rooted cultural concerns including the relationship between human and animal and the concern with masculine identity." -- BACK COVER.

Death in the Afternoon is a non-fiction book written by Ernest Hemingway about the ceremony and traditions of Spanish bullfighting, published in 1932. The book provides a look at the history and what Hemingway considers the magnificence of bullfighting. It also contains a deeper contemplation on the nature of fear and courage. While essentially a guide book, there are three main sections: Hemingway's work, pictures, and a glossary of terms.

Maia Wojciechowska's 1965 Newbery Medal winner about a young boy struggling with his father's legacy. Manolo was only three when his father, the great bullfighter Juan Olivar, died. But Juan is never far from Manolo's consciousness--how could he be, with the entire town of Arcangel waiting for the day Manolo will fulfill his father's legacy? But Manolo has a secret he dares to share with no one--he is a coward, without afición, the love of the sport that enables a bullfighter to rise above his fear and face a raging bull. As the day when he must enter the ring approaches, Manolo finds himself questioning which requires more courage: to follow in his father's legendary footsteps or to pursue his own destiny?

The Dangerous Summer is Hemingway's firsthand chronicle of a brutal season of bullfights. In this vivid account, Hemingway captures the exhausting pace and pressure of the season, the camaraderie and pride of the matadors, and the mortal drama—as in fight after fight—the rival matadors try to outdo each other with ever more daring performances. At the same time Hemingway offers an often complex and deeply personal self-portrait that reveals much about one of the twentieth century's preeminent writers.