Tag Archives: Excerpt

Giveaway Spotlight – DECISION IN THE ATLANTIC

Faulkner Cover

We’re giving a book away this week! One lucky reader will win a book of their choice, choosing from seven of our newest titles. From now until Sunday, July 21, we will spotlight one of the books up for grabs on our blog. Answer our questions on social media, and you’ll be entered into the drawing! For more details on the giveaway, CLICK HERE

Today’s feature title is Decision in the Atlantic: The Allies and the Longest Campaign of the Second World War. The Battle of the Atlantic was the longest campaign of the Second World War. This volume highlights the scale and complexity of this bitterly contested campaign that encompassed far more than just attacks by German U-boats on Allied shipping. The team of leading scholars assembled in this study situates the German assault on seaborne trade within the wider Allied war effort and provides a new understanding of its place within the Second World War.

When we have to choose which essay collections to read, we usually skim the introduction. So we cut the first few pages out and stuck them on our blog for your perusal. Enjoy!

Don’t forget to follow us on Facebook, Twitter, and Instagram for your chance to win Decision in the Atlantic: The Allies and the Longest Campaign of the Second World War or one of our other six books up for grabs this week. Click here for full giveaway details.

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Giveaway Spotlight – OLIVIDA DE HAVILLAND

Olivia de Havlland

We’re giving a book away this week! One lucky reader will win a book of their choice, choosing from seven of our newest titles. From now until Sunday, July 21, we will spotlight one of the books up for grabs on our blog. Answer our questions in the comments or on social media, and you’ll be entered into the drawing! For more details on the giveaway, CLICK HERE

Today’s feature title is Olivia de Havilland: Lady Triumphant. Legendary actress and two-time Academy Award winner Olivia de Havilland, best known for her role as Melanie Wilkes in Gone with the Wind (1939), portrayed elegant and refined characters. At the same time, de Havilland herself was a survivor with a fierce desire to direct her own destiny on and off the screen. She fought and won a lawsuit against Warner Bros. over a contract dispute that changed the studio contract system forever. From her iconic romance with James Stewart to her unending feud with Joan Fontaine, this work offers unprecedented access to the world behind the Hollywood screen and is a tribute to  one of Hollywood’s greatest legends.

Author Victoria Amador corresponded with de Havilland for forty years! They even met multiple times in the actress’s Paris home. We hope you’ll enjoy the story of how these two met, shared by the author below from the book’s introduction.

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Giveaway Spotlight – FISHING THE JUMPS: A NOVEL

Herrin CoverWe’re giving a book away this week! One lucky reader will win a book of their choice, choosing from seven of our newest titles. From now until Sunday, July 21, we will spotlight one of the books up for grabs on our blog. Answer our questions in the comments or on social media, and you’ll be entered into the drawing! For more details on the giveaway, CLICK HERE

Today’s featured title is award-winning author Lamar Herrin’s latest novel, Fishing the Jumps. In this work, Lamar Herrin explores the kaleidoscopic effect of memory while examining the rise and fall of life in the South. Set during a weekend fishing trip, two middle-aged friends sip Jim Beam and share stories as the past and present meld to reveal that what happens in the past rarely stays there.

We love this book , and we think you will too. So today, we want to share the opening couple pages with you. Enjoy!

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A Look at the Night He Disappeared

It was a cold and foggy February night in 1983 when a group of armed thieves crept onto Ballymany Stud, near The Curragh in County Kildare, Ireland, to steal Shergar, one of the Thoroughbred industry’s most renowned stallions. Bred and raced by the Aga Khan IV and trained in England by Sir Michael Stoute, Shergar achieved international prominence in 1981 when he won the 202nd Epsom Derby by ten lengths—the longest winning margin in the race’s history. The thieves demanded a hefty ransom for the safe return of one of the most valuable Thoroughbreds in the world, but the ransom was never paid and Shergar’s remains have never been found.

In Taking Shergar: Thoroughbred Racing’s Most Famous Cold Case, Milton C. Toby presents an engaging narrative that is as thrilling as any mystery novel. The book provides new analysis of the body of evidence related to the stallion’s disappearance, delves into the conspiracy theories that surround the inconclusive investigation, and presents a profile of the man who might be the last person able to help solve part of the mystery.

In honor of such a gripping tale, we have included an excerpt from Taking Shergar below, which tells of the beginning of the mystery that is the disappearance of one of the most beloved champions of horse racing.

The story broke early Wednesday morning.
Julian Lloyd, a livestock insurance underwriter for the John Marsh Syndicate at the time, was staying at the Keadeen Hotel in Newbridge. He had an 8:00 a.m. appointment that day to meet a veterinary surgeon from Sycamore Lodge Equine Hospital, a clinic located at The Curragh. The two were supposed to visit the Aga Khan’s Ballymany Stud, just a mile down the road and situated between the hotel and the racecourse, to talk about a possible increase in insurance premiums. The veterinarian arrived in a rush as Lloyd was walking out of the hotel.
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Shergar winning the Chester Vase by twelve lengths on May 5, 1981. (George Selwyn)

“We’re in good time, Joe,” Lloyd told his friend. “There’s no need to hurry.”

“Oh, no,” the vet said. “Shergar was taken in the night.”

“What?”

“He was taken.”
“You mean he’s dead, Joe?”

“No, you eejit, taken. Someone stole Shergar!”
“Oh my God!”
Lloyd tried to piece together the story of what happened to Shergar, but information was scarce and nothing he heard made any sense. The first reports were brief and confusing. An armed gang? Shergar missing? The stud groom kidnapped? Ransom? The Irish Republican Army?

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Shergar with jockey Walter Swinburn and lad Dickie McCabe before his 10-length victory in the Guardian Newspaper Classic Trial at Sandown Park on April 25, 1981. (Miralgo Publications Photo Archives/John Crofts photo)

Tuesday, February 8, one of the coldest days in Ireland that year, started like any other for James Fitzgerald. A quiet man in his fifties, Fitzgerald had worked for the Aga Khan’s family for his entire life, ever since 1945, when he was sixteen years old. Now he was the stud groom at Ballymany, a job his father had held before him, and one of the most valuable Thoroughbreds in the world was his responsibility. Fitzgerald took the job seriously, but never in his wildest dreams did he imagine being asked one day to put his life on the line for “his” horse.

Fitzgerald lived with his wife and children in a house a short walk from the four-stall stallion barn. The house was isolated, situated at the end of a narrow, tree-covered lane well off the road running between Newbridge and Kildare Town. Security at Ballymany consisted merely of a heavy wooden gate with a simple latch at the bottom of the lane. A sign for visitors read: “please close gate.
Around 8:40 in the evening, a man wearing a long coat and peaked cap, the way a Garda officer might dress on such a bitterly cold and rainy night, walked up to James Fitzgerald’s house and knocked on the front door. Fitzgerald, who had just returned from checking on Shergar one last time before turning in for the night, was upstairs and one of his sons, Bernard, went to the door. No one expected visitors at that time of night.
Hearing the knock at the door and then a commotion from the front of the house, Fitzgerald hurried downstairs. He found chaos, a scene that he could not immediately comprehend. Bernard lay pinned to the floor by a masked man and two other men in balaclavas were shouting, waving their hands, and pointing guns at his family.“We’ve come for Shergar,” one of the men said.

A Summer Under the Stars

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Cool summer nights, on a blanket, under the stars – there’s no better setting to watch a classic film. Conversations with Classic Film Stars: Interviews from Hollywood’s Golden Era is out now, and it is sure to help you bring these big-time silver screen stars back to life. With rare interviews from big stars like Margaret Hamilton. If ever an actor was defined by a single role—and loved for it through the ages—it was Margaret Hamilton, whose cackling voice and sharp features are vivid memories to generations of movie fans who remember her as the Wicked Witch of the 1939 movie classic, The Wizard of Oz. Hamilton was a veteran of Broadway theater, radio, and television as well as the movies, where she specialized in character roles. She might even have been remembered, if for nothing else, as Cora from the Maxwell House coffee TV ads she did in the late 1970s.

Setting the Scene

Meeting Margaret Hamilton was a real thrill for an old Wizard of Oz fan. It happened in January 1972. Hamilton was busy stealing scenes from Jean Simmons in the road company of A Little Night Music in Toronto, and I arranged an interview with her between shows. When I walked into the lobby of the King Edward Hotel for lunch with her, I suppose I was expecting someone who cackled and had a broom waiting in her parking space. Instead, I was greeted by a beautifully coiffed matron in a Chanel suit. Not once was she recognized by the other diners as one of cinema’s best-ever villainesses.

The Interview

BAWDEN: Does it bother you that everywhere you go you’re—

HAMILTON: The Wicked Witch of the West? Well, I wouldn’t get any work at my Hamilton_Wicked Witchage if I didn’t have that great movie as my signature piece. I mean nobody asks me about Mountain Justice [1937], The Gay Vagabond [1941], or Breaking the Ice [1938]. Why would they? But to have one film that’s still seen more than thirty years later? Well, it’s astounding.

BAWDEN: I keep hearing you were not first choice for the role.

HAMILTON: Mervyn LeRoy, who produced it, asked me to come in and test in full makeup. I worked with the designers on what I thought was a particularly foul-looking costume. I just thought of Halloween. I suggested the pointed hat and I found an old broomstick in a corner. Then I read in the trades a week later Gale Sondergaard had waltzed in and wowed them with a particularly glamorous interpretation. And she even announced she’d gotten it. I just shrugged and kept on working on my character studies. Then I was at a football game with my little son and Mervyn spotted me and ran over and said, “We’ve been looking for you everywhere. You got it! Report Monday for costume and makeup tests.” He offered me six weeks at $1,000 a week, which was manna for me. It eventually stretched out to twenty-three weeks. I asked him what had happened to Gale and Mervyn said, “Too pretty. We needed somebody who could scare the pants off children.”

BAWDEN: But the making of that movie wasn’t your fondest experience, was it?

HAMILTON: Working on it almost killed me. Buddy Ebsen, who was the original Tin Man, was rushed to the hospital and replaced by Jack Haley. The cause was paint poisoning and he was there for an awfully long time.

Supporting actors were not well regarded in those days. In one scene, I had to drop six feet through a trapdoor with the colored smoke all around me, and it was a close-up so there was no double. I was told to bend my knees and I’d land simply, but suddenly I was in flames. Somebody had prematurely touched the fire button. I was on fire! My broomstick went right up! My hat was on fire! I had to be hospitalized for second-degree burns for a month. MGM grudgingly paid the bills, but my face was seared, I had third-degree burns on one hand. I was in agony. My agent said if I sued I’d never work in this town again.

When I returned, I was told I’d be suspended in the air with a long pipe emitting smoke below me. I said no and they said I was a sissy and brought in the stand-in and she saddled up and the whole gadget exploded. She was badly wounded and spent months in the hospital.

BAWDEN: But surely there must be happy moments?

HAMILTON: Well, working with Jack Haley, Bert Lahr, Ray Bolger was heavenly. They kidded Judy [Garland] like crazy to keep her perky. Those Munchkins were Margaret Hamilton-Mae Westsomething else—a bad lot, I say, but they were afraid of me and kept their distance.

Watching Judy Garland perform was lovely. She had such energy. I didn’t realize it was all the Benzedrine she was being force-fed. They worked Judy to the bone. Saturdays, too, right up to the dawn breaking on Sunday morning. You know Judy was only sixteen and she was about to graduate from Hollywood High and I helped her pick the dress, but she had to do a cross-promotional Oz tour and only got back the day before her last day at high school.

I had my lovely little son, Meserve, with me one day in the commissary and [MGM studio boss] Louis B. Mayer waddles over and offered him a kiddie contract. “Don’t you dare!” I shouted and he ran off. I’d seen, up front, the awful things Hollywood did to little children.

Take a stopwatch and you’ll see I’m only around for less than fifteen minutes. It took an awful lot of effort to get those fifteen minutes. I became the real star of it because children always love to be frightened nearly to death. And little tots still recognize me on the street today. They point at me and shiver and laugh. It’s quite a compliment to think I still look a bit like that. . . .

BAWDEN: Were there any of the big stars you truly enjoyed working with?

HAMILTON: Oh, Carole Lombard would be right at the top of any list. I have to explain the star pecking order in those days. The stars had huge dressing rooms—many were suites complete with kitchens and even bedrooms—and portable ones on location. They were insulated from the rest of us. We were ensconced in a holding pen. I’d read, study my lines. But interaction was rare. With Carole, she came over and sat with us. She would be taking the lay of the land. She’d get her makeup done right there. An all right dame. And her mastery of screwball comedy was supreme. She was so lithe with a comedy line even Freddie March had trouble keeping up. I ran the drugstore in Warsaw, Vermont, in that one.

Eddie Robinson was the same way in A Slight Case of Murder [1938]. A sheer delight, very erudite. Bespectacled between the scenes. On camera, a whirling dervish, very competitive.

The year I did Wizard of Oz I also had a part in Babes in Arms with Judy Garland. The way Busby Berkeley mistreated her was awful. And Judy’s mom let him get away with this abuse. I was the aunt of one of the kids, name of Martha Steele, whom I loved. Judy asked me to sit with her in her dressing room. That way the mom couldn’t have a temper tantrum. I smuggled her in cookies because she was kept on a starvation diet. I told Busby off once about his foul language. He couldn’t really direct people. He could only devise those geometric shapes.

Years later during Judy’s Carnegie Hall triumphs I went backstage and she didn’t recognize me or Ray Bolger. He was in tears, saying she was on something. I did a Merv Griffin Show with her and her speech was slurred. I realized the sweet little teenager I’d known was long gone. . .

BAWDEN: In My Little Chickadee [1940] you had to contend with W. C. Fields and Mae West. How did that go?Margaret Hamilton

HAMILTON: Bill Fields walked in the first day, reeking of liquor. He came over and apologized to me. Understand, I was in awe of his talents. I said, “Mr. Fields, on you it smells like eau de cologne,” and he brightened up. A very sweet egomaniac. Ditto Mae West, who looked like an overstuffed mannequin. She said to me, “Margaret, can I help it if every man on this set is crazy in love with me?” Well, the love was one-sided, I can tell you. She was forty-eight and needed special lighting to wash out her creases. And Bill was constantly changing lines and she’d protest to director Eddie Cline, who told me he now knew how a wrestling referee felt.

Everyone seems to have seen this one, but it was considered a disappointment when first released. Mr. Fields never used bad language, although he was sorely tried when Miss West was in one of her moods. She kept saying, “I’m a solo performer. Please tell Bill that next time you find him awake.” Like all comics he’d try out a bit of business and then spend days refining it. He simply tried to add to his performance and she to hers. Mae would say, “Bill! Enough!” and waddle away and he’d mope for the rest of the afternoon. Thinking of that scene where he gets into bed with a billy goat still makes me laugh. But Mae wanted it out as being unrefined. . . .

What I want to explain is how grateful I’ve been. I could have spent all these years teaching kindergarten. I used to go out to junior grades to say hello, and all the kids would ask me to cackle. Which I always did at full throttle, and the little nippers would be cowering in their seats. We even had a few moist accidents. I’ve played hundreds of characters and I’m still up for more. Preston Sturges called me a “miniaturist” and that’s pretty wonderful as far as I’m concerned.

Afterword

Margaret Hamilton acted until 1982, when she played guest roles on two CBS series—Nurse and Lou Grant. She died of a heart attack, aged eighty-two, in Salisbury, Connecticut, on May 16, 1985. Predictably, the obituaries’ headlines all mentioned The Wizard of Oz.

It’s Earth Day Eve!

In a world filled with technology and innovation, it is so easy to get swept up in the motion of life. Fortunately for the world, Earth Day comes around every April to remind us where we came from and the primitive nature that this world once began with. One woman has kept her roots (pun intended) in tact over the years, becoming one of the most successful and influential activists in the field of agriculture. Of course I’m talking about Vandana Shiva, whose groundbreaking research has exposed the destructive effects of monocultures and commercial agriculture and revealed the interrelationships among ecology, gender, and poverty.

To celebrate Earth Day this year and the importance of agriculture in our lives, we have prepared an excerpt from The Vandana Shiva Reader, which how Shiva’s profound understanding of both the perils and potential of our interconnected world calls upon citizens of all nations to renew their commitment to love and care for soil, seeds, and people:

In 1984, a number of tragic events took place in India. In June, the Golden Temple was attacked because it was harboring extremists. In October, Indira Gandhi was assassinated. And in December, a terrible industrial disaster took place in Bhopal when Union Carbine’s pesticide plant leaked a toxic gas. Thirty thousand people died in the terrorism in Punjab, and thirty thousand people have died in the “industrial terrorism” of Bhopal. This is equivalent to twelve 9/11s. I was forced to sit up and ask why agriculture had become like war. Why did the “Green Revolution,” which had received the Nobel Peace Prize, breed extremism and terrorism in Punjab? This questioning led to my books The Violence of the Green Revolution and Monocultures of the Mind. Blindness to diversity and self-organization in nature and society was clearly a basic problem in the mechanistic, Cartesian industrial paradigm. And this blindness led to false claims that industrial monocultures in forestry, farming, fisheries, and animal husbandry produced more food and were necessary to alleviate hunger and poverty. On the contrary, monocultures produce less and use more inputs, thus destroying the environment and impoverishing people.

In 1987, the Dag Hammarjold Foundation organized a meeting on biotechnology in Geneva called Laws of Life. I was invited because of my book on the Green Revolution. At the conference, the biotech industry laid out its plans—to patent life; to genetically engineer seeds, crops, and life-forms; and to get full freedom to trade through the GATT negotiations, which finally led to the WTO. This led to my focus on intellectual property rights, free trade, globalization—and to a life dedicated to saving seeds and promoting organic farming as an alternative to a world dictated and controlled by corporations.

Having dedicated my life to the defense of the intrinsic worth of all species, the idea of life-forms, seeds, and biodiversity being reduced to corporate inventions and hence corporate property was abhorrent to me. Further, if seeds become “intellectual property,” saving and sharing seeds become intellectual property theft. Our highest duty, to save seeds, becomes a criminal act. The legalizing of the criminal act of owning and monopolizing life through patents on seeds and plants was morally and ethically unacceptable to me. So I started Navdanya, a movement that promotes biodiversity conservation and seed saving and seed sharing among farmers. Navdanya has created more than twenty community “seed banks” through which seeds are saved and freely exchanged among our three hundred thousand members.

Through our saving of heritage seeds, we have brought back “forgotten foods” like jhangora (barnyard millet), ragi (finger millet), marsha (amaranth), naurangi dal, and gahat dal. Not only are these crops more nutritious than the globally traded commodities, but they are also more resource prudent, requiring only two hundred to three hundred millimeters of rain compared to the twenty-five hundred millimeters needed for chemical rice farming. Millets could increase food production four hundred fold using the same amount of limited water. These forgotten foods are the foods of the future. Farmers’ seeds are the seeds of the future.
In addition to The Vandana Shiva Reader, Shiva has just recently published two new books:

Stolen Harvest: The Hijacking of Global Food Supply – In this book, Shiva explores the devastating effects of commercial agriculture and genetic engineering on the food we eat, the farmers who grow it, and the soil that sustains it. This prescient critique and call to action covers some of the most pressing topics of this ongoing dialogue, from the destruction of local food cultures and the privatization of plant life, to unsustainable industrial fish farming and safety concerns about corporately engineered foods.

 

The Violence of the Green Revolution: Third World Agriculture, Ecology, and Politics – The Green Revolution has been heralded as a political and technological achievement—unprecedented in human history. Yet in the decades that have followed it, this supposedly nonviolent revolution has left lands ravaged by violence and ecological scarcity. A dedicated empiricist, Shiva takes a magnifying glass to the effects of the Green Revolution in India, examining the devastating effects of monoculture and commercial agriculture and revealing the nuanced relationship between ecological destruction and poverty. In this classic work, the influential activist and scholar also looks to the future as she examines new developments in gene technology.

For more information on The Vandana Shiva Reader, click here!

 

The Radical Courage of Silent Movie Stuntwomen

We’ve been doing backflips this week for “Put The Girl in Danger!,” an excerpt from Mollie Gregory’s new book, Stuntwomen: The Untold Hollywood Story, that was published in the New Republic.

Read the preview below, then click over for the full excerpt.

Put The Girl in Danger!

10310641_10152652334666536_8793256011020349697_n Helen Gibson’s strong, handsome face and dark hair gave her the look of someone who would try anything. In 1915, while in her early twenties, she was doubling for the star of the hit serial The Hazards of Helen. In one stunt she was supposed to leap from the roof of the station to the top of a moving train. Years later, she called it her most dangerous stunt. “The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes.