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"Midnights is both a comedy of errors and an affectionate portrait
of small-town police, those beleaguered souls charged with the task
of keeping their neighbors in line....A reminder that those
assigned to protect are often vulnerable and quietly heroic."-Time
Funny, touching, revealing, here is the view from a rookie cop's
patrol car, during midnight shifts, in a (mostly) peaceful town.
With a rich cast of characters, this is a classic memoir of the
fear, surprises, excitement, embarrassment that comes with a
protecting and serving a small community. "When I was twenty-three
years old, five months out of college, with a degree in music, and
without any idea of what to do with myself, I took a job as a
policeman in Wellfleet, Massachusetts," so writes Alec Wilkinson.
"Music, huh?" the police chief said during the job interview.
"That'll be a big help." Wilkinson's main qualification was
familiarity with the town of 2,000 people from summers there
growing up. Committing himself to a year wearing a uniform and
carrying a gun, and with no training, Wilkinson was sent out to
keep the peace, hoping nothing would happen. There are high-speed
chases and stopping drunk drivers, one of whom tries to set
Wilkinson's hair on fire. There are domestic squabbles. "The first
six months were murder for me," Wilkinson's partner confides on his
first night. "After that, when I found out the people I thought
were my friends weren't really my friends, I felt better off."
There is an attempted bank robbery. The teller convinces the robber
that his haul ($300) is too much to carry around in cash. The
robber is still listening to investment options when the police
arrive. Throughout there are conversations with his eight fellow
officers who Wilkinson comes to respect and admire. "Nobody ever
calls you when they're behaving themselves," one admits. "As a
rule, you always get called when people are at their worst. It's
sad. It depresses me." The job is often thankless. "Right now I
work on the police force," another officer says, "my wife stamps
cans in the supermarket, and she makes more money than I do." This
is experiential journalism at its most poignant and
entertaining-and it launched the career of Alec Wilkinson: writer,
interviewer, essayist, and author. This is for any reader looking
for insight into the real lives of police officers, outside of
large cities, across America. It is also for anyone looking for a
marvelously engaging read. Midnights is part of Godine's Nonpareil
imprint: celebrating the joy of discovery with books bound to be
classics.
Howard "Stretch" Johnson, a charismatic Harlemite who graduated
from Cotton Club dancer to Communist Party youth leader, once
claimed that in late 1930s New York "75% of black cultural figures
had Party membership or maintained regular meaningful contact with
the Party." He stretched the truth, but barely. In a broad-ranging,
revisionary account of the extensive relationship between
African-American literary culture and Communism in the 1920s and
1930s, William J. Maxwell uncovers both black literature's debt to
Communism and Communism's debt to black literature -- reciprocal
obligations first incurred during the Harlem Renaissance.
Juxtaposing well-known and newly rediscovered works by Claude
McKay, Andy Razaf, Mike Gold, Langston Hughes, Louise Thompson,
Richard Wright, Zora Neale Hurston, and Nelson Algren, Maxwell
maintains that the "Old," Soviet-allied Left promoted a spectrum of
exchanges between black and white authors, genres, theories, and
cultural institutions. Channels opened between radical Harlem and
Bolshevik Moscow, between the New Negro renaissance and proletarian
literature. Claude McKay's 1922-23 pilgrimage to the Soviet Union,
for example, usually recalled as a lighthearted adventure in
radical tourism, actually jumpstarted the Comintern's controversial
nation-centered program for Afro America. Breaking from studies
governed by Cold War investments and pivoting on the Great
Depression, Maxwell argues that Communism's rare sustenance for
African-American initiative -- not a seduction of
Depression-scarred innocents -- brought scores of literary "New
Negroes" to the Old Left.
Discover this extraordinary and beautiful novel from one of
America's greatest novelists. In rural Illinois two tenant farmers
share much, finally too much, until jealously leads to murder and
suicide. A tenuous friendship between lonely teenagers - the
narrator, whose mother has died young, and Cletus Smith, the
troubled witness to his parent's misery - is shattered. After the
murder and upheavals that follow, the boys never speak again. Fifty
years on, the narrator attempts a reconstruction of those
devastating events and the atonement of a lifetime's regret. **One
of the BBC's 100 Novels That Shaped Our World**
From the American Book Award-winning author of Ancestors and Time Will Darken comes a masterful collection of stories, spanning more than 50 years--a tour of a world that engages readers entirely, and whose characters command the deepest loyalty and tenderness.
Public companies acquire most of their outside capital from debt fi
nancing and, more specifi cally, leveraged finance--an asset class
that falls somewhere between traditional fixed income and stocks.
While this type of debt fi nancing carries significant risk to both
investors and companies, the potential returns make leveraged
finance a cornerstone of the modern financial markets.
"Leveraged Financial Markets" is a gathering of the most astute
and informed minds in the business. The powerhouse editorial team
of William F. Maxwell and Mark R. Shenkman have handselected
contributions from the top practitioners and thinkers working in
leveraged finance today.
The result is an authoritative guidebook that provides you with
what you need to navigate the highyield market in the integrated
global economy. Packed with a wealth of analytical models
illustrating the realities of distress probabilities and losses in
default, "Leveraged Financial Markets" gives you all the insight
and strategies you need to: Use the Sharpe ratio to measure the
return versus risk for high-yield debt Develop and oversee a
portfolio of high-yield bonds Value individual high-yield
issuances
It also updates you on changes in the high-yield bond market and
features in-depth coverage of numerous debt vehicles leveraged in
the market today, including collateralized debt obligations (CDOs),
credit derivative swaps (CDSs), collateralized loan obligations
(CLOs), and leveraged loans.
"Leveraged Financial Markets" is your blueprint to becoming a
virtuoso of this resilient and popular asset class.
Containing more than three hundred poems, including nearly a
hundred previously unpublished works, this unique collection
showcases the intellectual range of Claude McKay (1889-1948), the
Jamaican-born poet and novelist whose life and work were marked by
restless travel and steadfast social protest. McKay's first poems
were composed in rural Jamaican creole and launched his lifelong
commitment to representing everyday black culture from the bottom
up. Migrating to New York, he reinvigorated the English sonnet and
helped spark the Harlem Renaissance with poems such as "If We Must
Die." After coming under scrutiny for his communism, he traveled
throughout Europe and North Africa for twelve years and returned to
Harlem in 1934, having denounced Stalin's Soviet Union. By then,
McKay's pristine "violent sonnets" were giving way to confessional
lyrics informed by his newfound Catholicism.
McKay's verse eludes easy definition, yet this complete
anthology, vividly introduced and carefully annotated by William J.
Maxwell, acquaints readers with the full transnational evolution of
a major voice in twentieth-century poetry.
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Lyrics and Sketches
William M (William Maxwell) Martin
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R943
Discovery Miles 9 430
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Ships in 10 - 15 working days
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