Violets & Vitriol: Christiaan A. Pasquale
Valentines & Vitriol: Rex Reed
The Hydro-Metallurgy of Copper:Being an Account of Processes Adopted in the Hydro-Metallurgical Treatment of Cupriferous Ores, Including the Manufacture of Copper Vitriol (Classic Reprint) Manuel Eissler
Pyritologia, or a History of the Pyrites, the Principal Body in the Mineral Kingdom:In Which Are Considered Its Names, Species, Beds, and Origin, Its Iron, Copper, Unmettalic Earth, Sulphur, Arsenic, Silver, Gold, Original Particles, Vitriol and Use in S Johann Friedrich Henckel
Owen Quine, écrivain célèbre, a disparu. Il venait d´achever son dernier manuscrit - un sulfureux roman à clés qui dresse le portrait au vitriol de son entourage. De quoi inquiéter bon nombre de personnalités en vue... C´est ce que pressent le détective privé, Cormoran Strike, chargé de l´enquête. Qui aurait intérêt à ce que Quine soit réduit au silence ? Lorsque Strike retrouve le cadavre de l´auteur, assassiné selon un rituel particulièrement atroce, il comprend qu´il a affaire à un tueur impitoyable, tel qu´il n´en encore jamais rencontré dans sa carrière. Rythmé par une multitude de coups de théâtre, Le Ver à Soie est le deuxième volet des aventures du détective Cormoran Strike et de sa jeune et intrépide assistante, Robin Ellacott.
What Makes Sammy Run? Everyone of us knows someone who runs. He is one of the symp-toms of our times--from the little man who shoves you out of the way on the street to the go-getter who shoves you out of a job in the office to the Fuehrer who shoves you out of the world. And all of us have stopped to wonder, at some time or another, what it is that makes these people tick. What makes them run? This is the question Schulberg has asked himself, and the answer is the first novel written with the indignation that only a young writer with talent and ideals could concentrate into a manuscript. It is the story of Sammy Glick, the man with a positive genius for being a heel, who runs through New York´s East Side, through newspaper ranks and finally through Hollywood, leaving in his wake the wrecked careers of his associates; for this is his tragedy and his chief characteristic--his congenital incapacity for friendship. An older and more experienced novelist might have tempered his story and, in so doing, destroyed one of its outstanding qualities. Compromise would mar the portrait of Sammy Glick. Schulberg has etched it in pure vitriol, and dissected his victim with a precision that is almost frightening. When a fragment of this book appeared as a short story in a national magazine, Schulberg was surprised at the number of letters he received from people convinced they knew Sammy Glick´s real name. But speculation as to his real identity would be utterly fruitless, for Sammy is a composite picture of a loud and spectacular minority bitterly resented by the many decent and sincere artists who are trying honestly to realize the measureless potentialities of motion pictures. Tothis group belongs Schulberg himself, who has not only worked as a screen writer since his graduation from Dartmouth College in 1936, but has spent his life, literally, in the heart of the motion-picture colony. In the course of finding out what makes Sammy run (an operation The classic book that shaped two generations´ view of the movie business and introduced the is the archetypal Hollywood player Sammy Glick. He´s got a machete mouth and a genius for double-cross. As Budd Shulberg-author of the screenplay On the Waterfront-follows Sammy´s relentless upward progress, he creates a virtuoso study in character that manages to be hilariously appalling yet deeply compassionate. ´´Sammy Glick remains at the top of the Hollywood sleaze heap, a hustler nonpareil?. What Makes Sammy Run? Is still the quintessential novel about ´´the all-American heel.´´´ - Moredcai Richler, GQ
National Bestseller A bank of clouds was assembling on the not-so-distant horizon, but journalist-mountaineer Jon Krakauer, standing on the summit of Mt. Everest, saw nothing that ´´suggested that a murderous storm was bearing down.´´ He was wrong. The storm, which claimed five lives and left countless more--including Krakauer´s--in guilt-ridden disarray, would also provide the impetus for Into Thin Air, Krakauer´s epic account of the May 1996 disaster. By writing Into Thin Air, Krakauer may have hoped to exorcise some of his own demons and lay to rest some of the painful questions that still surround the event. He takes great pains to provide a balanced picture of the people and events he witnessed and gives due credit to the tireless and dedicated Sherpas. He also avoids blasting easy targets such as Sandy Pittman, the wealthy socialite who brought an espresso maker along on the expedition. Krakauer´s highly personal inquiry into the catastrophe provides a great deal of insight into what went wrong. But for Krakauer himself, further interviews and investigations only lead him to the conclusion that his perceived failures were directly responsible for a fellow climber´s death. Clearly, Krakauer remains haunted by the disaster, and although he relates a number of incidents in which he acted selflessly and even heroically, he seems unable to view those instances objectively. In the end, despite his evenhanded and even generous assessment of others´ actions, he reserves a full measure of vitriol for himself. This updated trade paperback edition of Into Thin Air includes an extensive new postscript that sheds fascinating light on the acrimonious debate that flared between Krakauer and Everest guide Anatoli Boukreev in the wake of the tragedy. ´´I have no doubt that Boukreev´s intentions were good on summit day,´´ writes Krakauer in the postscript, dated August 1999. ´´What disturbs me, though, was Boukreev´s refusal to acknowledge the possibility that he made even a single poor decision. Never did he indicate that perhaps it wasn´t the best choice to climb without gas or go down ahead of his clients.´´ As usual, Krakauer supports his points with dogged research and a good dose of humility. But rather than continue the heated discourse that has raged since Into Thin Air´s denouncement of guide Boukreev, Krakauer´s tone is conciliatory; he points most of his criticism at G. Weston De Walt, who coauthored The Climb, Boukreev´s version of events. And in a touching conclusion, Krakauer recounts his last conversation with the late Boukreev, in which the two weathered climbers agreed to disagree about certain points. Krakauer had great hopes to patch things up with Boukreev, but the Russian later died in an avalanche on another Himalayan peak, Annapurna I. In 1999, Krakauer received an Academy Award in Literature from the American Academy of Arts and Letters--a prestigious prize intended ´´to honor writers of exceptional accomplishment.´´ According to the Academy´s citation, ´´Krakauer combines the tenacity and courage of the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer. His account of an ascent of Mount Everest has led to a general reevaluation of climbing and of the commercialization of what was once a romantic, solitary sport; while his account of the life and death of Christopher McCandless, who died of starvation after challenging the Alaskan wilderness, delves even more deeply and disturbingly into the fascination of nature and the devastating effects of its lure on a young and curious mind.´´