Dr. Dee Dee Dynamo and team visit Cordova, Alaska for the Ice Worm Festival. The ice is melting because of climate change and Dr. Dee Dee and the team help find a solution.

Join Dr. Dee Dee Dynamo's Mission to rescue the Ice Worms and save the planet Earth from Climate Change

It's time for the Cordova Ice Worm Festival! What fun! But the tiny ice worms are in danger: their homes are melting because of Climate Change! Can Supergirl Surgeon Dr. Dee Dee Dynamo and her friends save the day?

This book traces the origins of a faith--perhaps the faith of the century. Modern revolutionaries are believers, no less committed and intense than were Christians or Muslims of an earlier era. What is new is the belief that a perfect secular order will emerge from forcible overthrow of traditional authority. This inherently implausible idea energized Europe in the nineteenth century, and became the most pronounced ideological export of the West to the rest of the world in the twentieth century. Billington is interested in revolutionaries--the innovative creators of a new tradition. His historical frame extends from the waning of the French Revolution in the late eighteenth century to the beginnings of the Russian Revolution in the early twentieth century. The theater was Europe of the industrial era; the main stage was the journalistic offices within great cities such as Paris, Berlin, London, and St. Petersburg. Billington claims with considerable evidence that revolutionary ideologies were shaped as much by the occultism and proto-romanticism of Germany as the critical rationalism of the French Enlightenment. The conversion of social theory to political practice was essentially the work of three Russian revolutions: in 1905, March 1917, and November 1917. Events in the outer rim of the European world brought discussions about revolution out of the school rooms and press rooms of Paris and Berlin into the halls of power. Despite his hard realism about the adverse practical consequences of revolutionary dogma, Billington appreciates the identity of its best sponsors, people who preached social justice transcending traditional national, ethnic, and gender boundaries. When this book originally appeared The New Republic hailed it as "remarkable, learned and lively," while The New Yorker noted that Billington "pays great attention to the lives and emotions of individuals and this makes his book absorbing." It is an invaluable work of history and contribution to our understanding of political life.

Gonzo journalist and literary roustabout Hunter S. Thompson flies with the angels—Hell’s Angels, that is—in this short work of nonfiction. “California, Labor Day weekend . . . early, with ocean fog still in the streets, outlaw motorcyclists wearing chains, shades and greasy Levis roll out from damp garages, all-night diners and cast-off one-night pads in Frisco, Hollywood, Berdoo and East Oakland, heading for the Monterey peninsula, north of Big Sur. . . The Menace is loose again.” Thus begins Hunter S. Thompson’s vivid account of his experiences with California’s most notorious motorcycle gang, the Hell’s Angels. In the mid-1960s, Thompson spent almost two years living with the controversial Angels, cycling up and down the coast, reveling in the anarchic spirit of their clan, and, as befits their name, raising hell. His book successfully captures a singular moment in American history, when the biker lifestyle was first defined, and when such countercultural movements were electrifying and horrifying America. Thompson, the creator of Gonzo journalism, writes with his usual bravado, energy, and brutal honesty, and with a nuanced and incisive eye; as The New Yorker pointed out, “For all its uninhibited and sardonic humor, Thompson’s book is a thoughtful piece of work.” As illuminating now as when originally published in 1967, Hell’s Angels is a gripping portrait, and the best account we have of the truth behind an American legend.

A number of years ago, Harriet Sheridan, then Dean of Brown University, organized a series oflectures in which individual faculty members described how it came about that they entered their various fields. I was invited to participate in this series and found in the invitation an opportunity to recall events going back to my early teens. The lecture was well received and its reception encouraged me to work up an expanded version. My manuscript lay dormant all these years. In the meanwhile, sufficiently many other mathematical experiences and encounters accumulated to make this little book. My 1981 lecture is the basis of the first piece: "Napoleon's Theorem. " Although there is a connection between the first piece and the second, the four pieces here are essentially independent. The sec ond piece, "Carpenter and the Napoleon Ascription," has as its object a full description of a certain type of scholar-storyteller (of whom I have known and admired several). It is a pastiche, contain ing a salad bar selection blended together by my own imagination. This piece purports, as a secondary goal, to present a solution to a certain unsolved historical problem raised in the first piece. The third piece, "The Man Who Began His Lectures with 'Namely'," is a short reminiscence of Stefan Bergman, one of my teachers of graduate mathematics. Bergman, a remarkable person ality, was born in Poland and came to the United States in 1939.

Dee Dee, a girl surgeon with special powers, travels to Pluto to perform a surgical operation that will allow Pluto to regain its status as a planet.

An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.