Cairo, 1942: If you had asked a British officer who Colonel Clarke was, they would have been able to point him out: always ready with a drink and a story, he was a well-known figure in the local bars. If you then asked what he did, you would have less success. Those who knew didn't tell, and almost no one really knew at all. Clarke thought of himself as developing a new kind of weapon. Its components? Rumour, stagecraft, a sense of fun. Its target? The mind of Erwin Rommel, Hitler's greatest general. Throughout history, military commanders have sought to mislead their opponents. Dudley Clarke set out to do it on a scale no one had imagined before. Even afterwards, almost no one understood the magnitude of his achievement. Drawing on recently released documents and hugely expanding on the louche portrait of Clarke as seen in SAS: Rogue Warriors, journalist and historian Robert Hutton reveals the amazing story of Clarke's A Force, the invention of the SAS and the Commandos, and the masterful hoodwinking of the Desert Fox at the battle of El Alamein. The Illusionist tells for the first time the dazzling tale of how, at a pivotal moment in the war, British eccentricity and imagination combined to thwart the Nazis and save innumerable lives - on both sides.

Cairo, 1942: If you had asked a British officer who Colonel Clarke was, they would have been able to point him out: always ready with a drink and a story, he was a well-known figure in the local bars. If you then asked what he did, you would have less success. Those who knew didn't tell, and almost no one really knew at all. Clarke thought of himself as developing a new kind of weapon. Its components? Rumour, stagecraft, a sense of fun. Its target? The mind of Erwin Rommel, Hitler's greatest general. Throughout history, military commanders have sought to mislead their opponents. Dudley Clarke set out to do it on a scale no one had imagined before. Even afterwards, almost no one understood the magnitude of his achievement. Drawing on recently released documents and hugely expanding on the louche portrait of Clarke as seen in SAS: Rogue Warriors, journalist and historian Robert Hutton reveals the amazing story of Clarke's A Force, the invention of the SAS and the Commandos, and the masterful hoodwinking of the Desert Fox at the battle of El Alamein. The Illusionist tells for the first time the dazzling tale of how, at a pivotal moment in the war, British eccentricity and imagination combined to thwart the Nazis and save innumerable lives - on both sides.

This book provides an easy introduction to the theory of differentiable manifolds. The authors then show how the theory can be used to develop, simply but rigorously, the theory of Lanrangian mechanics directly from Newton's laws. Unnecessary abstraction has been avoided to produce an account suitable for students in mathematics or physics who have taken courses in advanced calculus.

June 1940. Britain is Europe's final bastion of freedom - and Hitler's next target. But not everyone fears a Nazi invasion. In factories, offices and suburban homes are men and women determined to do all they can to hasten it. Throughout the Second World War, Britain's defence against the enemy within was Eric Roberts, a former bank clerk from Epsom. Equipped with an extraordinary ability to make people trust him, he was recruited into the shadowy world of espionage by the great spymaster Maxwell Knight. Roberts penetrated first the Communist Party and then the British Union of Fascists, before playing his greatest role for MI5 - as Hitler's man in London. Codenamed Jack King, he single-handedly built a network of hundreds of British Nazi sympathisers, with many passing secrets to him in the mistaken belief that he was a Gestapo officer. Operation Fifth Column, run by a brilliant woman scientist and a Jewish aristocrat with a sideline in bomb disposal, was kept so secret it was omitted from the reports MI5 sent to Winston Churchill. In a narrative that grips like a thriller, Robert Hutton tells the fascinating story of an operation whose existence has only recently come to light. Drawing on newly declassified documents and private family archives, Agent Jack shatters the comfortable notion that Britain could never have succumbed to fascism, and celebrates - at last - the courage of individuals who protected the country they loved at great personal risk.

Fans and scholars have long regarded the 1980s as a significant turning point in the history of comics in the United States, but most critical discussions of the period still focus on books from prominent creators such as Frank Miller, Alan Moore, and Art Spiegelman, eclipsing the work of others who also played a key role in shaping comics as we know them today. The Other 1980s: Reframing Comics' Crucial Decade offers a more complicated and multivalent picture of this robust era of ambitious comics publishing. The twenty essays in The Other 1980s illuminate many works hailed as innovative in their day that have nonetheless fallen from critical view, partly because they challenge the contours of conventional comics studies scholarship: open-ended serials that eschew the graphic-novel format beloved by literature departments; sprawling superhero narratives with no connection to corporate universes; offbeat and abandoned experiments by major publishers, including Marvel and DC; idiosyncratic and experimental independent comics; unusual genre exercises filtered through deeply personal sensibilities; and oft-neglected offshoots of the classic ""underground"" comics movement of the 1960s and 1970s. The collection also offers original examinations of the ways in which the fans and critics of the day engaged with creators and publishers, establishing the groundwork for much of the contemporary critical and academic discourse on comics. By uncovering creators and works long ignored by scholars, The Other 1980s revises standard histories of this major period and offers a more nuanced understanding of the context from which the iconic comics of the 1980s emerged.

Fans and scholars have long regarded the 1980s as a significant turning point in the history of comics in the United States, but most critical discussions of the period still focus on books from prominent creators such as Frank Miller, Alan Moore, and Art Spiegelman, eclipsing the work of others who also played a key role in shaping comics as we know them today. The Other 1980s: Reframing Comics' Crucial Decade offers a more complicated and multivalent picture of this robust era of ambitious comics publishing. The twenty essays in The Other 1980s illuminate many works hailed as innovative in their day that have nonetheless fallen from critical view, partly because they challenge the contours of conventional comics studies scholarship: open-ended serials that eschew the graphic-novel format beloved by literature departments; sprawling superhero narratives with no connection to corporate universes; offbeat and abandoned experiments by major publishers, including Marvel and DC; idiosyncratic and experimental independent comics; unusual genre exercises filtered through deeply personal sensibilities; and oft-neglected offshoots of the classic ""underground"" comics movement of the 1960s and 1970s. The collection also offers original examinations of the ways in which the fans and critics of the day engaged with creators and publishers, establishing the groundwork for much of the contemporary critical and academic discourse on comics. By uncovering creators and works long ignored by scholars, The Other 1980s revises standard histories of this major period and offers a more nuanced understanding of the context from which the iconic comics of the 1980s emerged.