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Promising his aunt to avoid all Mormons, Chris Kerry came to Utah to get an education - and nothing else. But with the help of some friendly neighbors and eccentric coworkers, Chris uncovers a truth that stitches together his lost heritage in a way he never imagined. This hilarious, moving novel illuminates how we recognize truth even in the most trying of circumstances.

In the first book to critically examine each of the fourteen feature films Sam Peckinpah directed during his career, Michael Bliss stresses the persistent moral and structural elements that permeate Peckinpah’s work. By examining the films in great detail, Bliss makes clear the moral framework of temptation and redemption with which Peckinpah was concerned while revealing the director’s attention to narrative. Bliss shows that each of Peckinpah’s protagonists is involved with attempting, in the words of Ride the High Country’s Steve Judd, "to enter my house justified." The validity of this systematic method is clearly demonstrated in the chapter devoted to The Wild Bunch. By enumerating the doublings and triplings of action and dialogue found in the film, Bliss underscores its symbolic and structural complexity. Beginning the chapters treating Junior Bonner and The Getaway with analyses of their important title sequences, Bliss shows how these frequently disregarded pieces present in miniature the major moral and narrative concerns of the films. In his chapter on The Osterman Weekend, Bliss makes apparent Peckinpahs awareness of and concern with the self-reflexive nature of filmmaking itself. Bliss shows that like John Ford, Peckinpah moved from optimism to pessimism. The films of the director’s early period, from The Deadly Companions to Cable Hogue, support the romantic ideals of adventure and camaraderie and affirm a potential for goodness in America. In his second group of films, which begins with Straw Dogs and ends with Bring Me the Head of Alfredo Garcia, both heroes and hope have vanished. It is only in The Osterman Weekend that Peckinpah appears finally to have renewed his capacity for hope, allowing his career to close in a positive way.

An engaging introduction to marine chemistry and the ocean's geochemical interactions with the solid earth and atmosphere, for students of oceanography.

PMSL is a conversational facility for the creation, modification, storage, retrieval, and analysis of descriptions of computer hardware at the top system level, where one works with processors, memories, controllers, channels, and peripherals. PMSL is intended as an intelligent sketchpad for computer engineers and systems analysts. Despite the abundance of notations and implemented languages for the logic and register-transfer levels of hardware description, PMSL is the first system designed expressly for the top system level. The language is based on the PMS (Processors, Memories, Switches) notation. The thesis includes detailed syntatic and semantic descriptions of PMSL, a user's manual for the analysis functions, explanations of the less conventional algorithms and implementation details, and an extensive discussion of future research and development possibilities. Two demonstrations of actual PDP-10 terminal sessions are given, one introductory, the other a practical test of PMSL's ability to absorb the description of an actual large system. (Author).

A pictoral history of Willow Run - a relative unknown location that became the world's most famous bomber factory during World War II. In May 1940, Pres. Franklin D. Roosevelt called for the production of 50,000 military airplanes. He then drafted the president of General Motors, William Knudsen, to mobilize industry in the United States. The automotive companies were called upon to produce a massive fleet of bombers, as well as tanks, trucks, guns, and engines. By the Willow Run, a sleepy little creek near Ypsilanti, Michigan, Ford Motor Company built the world's most famous bomber factory, which was the ultimate manifestation of the automotive industry's role in building armaments during World War II. By the spring of 1944, Willow Run was producing a four-engine B-24 bomber each hour on an assembly line.

"Barr enlisted as a private in the 5th South Carolina Cavalry Regiment in January 1863, just as the fortunes of war began to turn against the South ... Barr ... described his life as a soldier, including an account of the clash at Trevilian Station in which he was wounded"--Dust jacket.

TRIPLE SALTO – A detective novel with Daniel Dreyer Lust, sex, desire, attraction, lechery. Call it what you want, but it is one of the classical Seven Deadly Sins. The prematurely discharged elite frogman – and now private detective – Daniel Dreyer lives in the medium-sized provincial town of Haubjerg. A very young Danish-Japanese gymnastics girl, who belongs to the world elite in her sport arrives at the newly established sports college in the city. She trains for her big breakthrough with the impossible maneuver: the TRIPLE SALTO. In addition, she turns the heads – without wanting to – of several of the city's men. This has catastrophic consequences, and Daniel Dreyer has to take on the case. TRIPLE SALTO is the third volume in DANIEL & THE SEVEN DEADLY SINS, which has Lust as its theme. It can be read independently of the preceding books.

In the first book to critically examine each of the fourteen feature films Sam Peckinpah directed during his career, Michael Bliss stresses the persistent moral and structural elements that permeate Peckinpah’s work. By examining the films in great detail, Bliss makes clear the moral framework of temptation and redemption with which Peckinpah was concerned while revealing the director’s attention to narrative. Bliss shows that each of Peckinpah’s protagonists is involved with attempting, in the words of Ride the High Country’s Steve Judd, "to enter my house justified." The validity of this systematic method is clearly demonstrated in the chapter devoted to The Wild Bunch. By enumerating the doublings and triplings of action and dialogue found in the film, Bliss underscores its symbolic and structural complexity. Beginning the chapters treating Junior Bonner and The Getaway with analyses of their important title sequences, Bliss shows how these frequently disregarded pieces present in miniature the major moral and narrative concerns of the films. In his chapter on The Osterman Weekend, Bliss makes apparent Peckinpahs awareness of and concern with the self-reflexive nature of filmmaking itself. Bliss shows that like John Ford, Peckinpah moved from optimism to pessimism. The films of the director’s early period, from The Deadly Companions to Cable Hogue, support the romantic ideals of adventure and camaraderie and affirm a potential for goodness in America. In his second group of films, which begins with Straw Dogs and ends with Bring Me the Head of Alfredo Garcia, both heroes and hope have vanished. It is only in The Osterman Weekend that Peckinpah appears finally to have renewed his capacity for hope, allowing his career to close in a positive way.