A kaleidoscopic novel about our last American century A skipper plies the waters of the South Pacific, running ammunition and passing the time with navy buddies McHale and Jack Kennedy, remembering the sweet caress of Screw-Me Susie. A New York millionaire reunites with his prep school classmate Alger Hiss, and journeys to an unusual downtown cafe to meet a bearded friend. A young woman and her confidante Daisy Buchanan sink into the languor of the Hamptons and Provincetown. A buxom redhead from Alabam-don't-give-a-damn travels to Hollywood, in search of fame and fortune. A charismatic professor assists Robert Oppenheimer with his desert calculations and is henceforth the author of every American political conspiracy. And Mary-Ann Kilroy leaves Russell, Kansas, for Paris and love, only to discover that you can never go home (nor leave the island). But beneath these stories is the story of their author, an institutionalized shadow man who has twisted the histories of six characters into a pastiche of American history.

Where is semiotics now? As the promised science of the social life of signs in general, semiotics has not been good to its word. Although well-established institutionally today--through specialist journals, research centres, international conferences, professional associations and the like--semiotics now seems quaintly out of place in a world where text, culture and technology defy metadisciplinary, if not metaphysical, explanation. When the semiotician has finished explaining the music of Primal Scream, the textuality of an email message or the culture of the internet, most would believe there was still lots to be said. A generation ago, the radical humanities scholar turned to semiotics for the last word on news production, cinematic desire or the meaning of youth style. Today that last word (which is always the latest word too) is more likely to go to cultural studies, literary theory or postmodernism--all of which are in several senses 'beyond' semiotics even while remaining indebted to it. In addition, we can't so easily presume to separate notions of production and desire, say, or news and cinema, precisely because we can no longer say for sure where the differences lie between notions of text, culture and technology. Beyond Semiotics provides an approach to these three interdependent concepts of text, culture and technology, in order to show what semiotics had always had to marginalize, forget, or not see in the quest to professionalize itself. Meanwhile, outside the limitation of any discipline, the secular mysteries of text, culture and technology today continue to call for a response--not with the aim of laying bare the truth, but of opening up the sign.

The author of the classic In a Different Voice offers a brilliant, provocative book about love that has powerful implications for the way we live and love today. “Compelling ... A thrilling new paradigm.” —The Times Literary Supplement Carol Gilligan, whose In a Different Voice revolutionized the study of human psychology, now asks: Why is love so often associated with tragedy? Why are our experiences of pleasure so often shadowed by loss? And can we change these patterns? Gilligan observes children at play and adult couples in therapy and discovers that the roots of a more hopeful view of love are all around us. She finds evidence in new psychological research and traces a path leading from the myth of Psyche and Cupid through Shakespeare’s plays and Freud’s case histories, to Anne Frank’s diaries and contemporary novels.

From the early cinema of Griffith and René Clair, to the work of Godard, Lina Wertmuller and Ken Loach, this book offers a comprehensive survey of anarchism in film.

The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.

An ex-Soviet KGB agent details his primary mission to work undercover in the United States for over a decade and discusses his change of allegiance and defection from the KGB. --Publisher's description.

So, what would Mary Ann do? As the sweet, polite, and thoughtful Mary Ann Summers from Kansas in the hit series Gilligan’s Island, Dawn Wells created an unforgettable and beloved character that still connects with people fifty years from the show’s debut in 1964. As the “good girl” among the group of castaways on a tiny island, she was often positioned against the glamorous and exotic Ginger Grant, played by Tina Louise, prompting many to ask: Are you a Ginger or a Mary Ann? This book not only helps readers answer that question for themselves but also sends the inspirational and heartwarming message that yes, good girls do finish first. Part self-help, part memoir, and part humor—with a little classic TV nostalgia for good measure—What Would Mary Ann Do? contains twelve chapters on everything from how Mary Ann would respond to changes in today’s culture to addressing issues confronting single women and mothers. Wells brings along her fellow characters from Gilligan’s Island to illustrate certain principles, such as incorporating the miserly Thurston Howell III (Jim Backus) in a discussion on money. Anecdotal sidebars also describe fascinating facts and compelling memories from the show, as well as some trivia questions to challenge fans and followers. Illustrated with photographs from Wells’s private collection, this book provides inspiring lessons from TV’s favorite good girl.

"American Wake contains fourteen new poems plus poems from six of Thomas Rabbitt's previous books (several smaller books and chapbooks are not represented). The present volume is thus "selected" rather than "collected," and the poems were chosen by the author on the basis of what caused him the least urge - looking back over three decades of writing - to "slash and burn.""--BOOK JACKET.