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Reflecting on his reconnection with his terminally ill father through their shared love of games, Peter Unwin produces a collection of personal essays that explores how the power of play can create connection and levity, even in the face of grief, war, or violence.

In Life Without Death, the latest short story collection from Peter Unwin, ordinary men and women search for meaning in lives subject to change, chance, coincidence, and catastrophe. A man recalls a lifetime of love and loss while copying contacts out of his old little black book. A woman is left her dying father's secret stash of pornography, and is entrusted with the unenviable task of disposing of it. A new father unexpectedly discovers a way of connecting to his autistic son. For one day, guests to a wedding set aside their various past misdeeds in order to celebrate a young couple's union. A teenager newly introduced to a life of petty crime suddenly finds himself in way over his head. A man's former acquaintance resurfaces decades later as the subject of a haunting art film. Unwin's characters live full, complex lives within each story. Though they may not find the simple answers they seek, if such answers even exist, they-and readers-gain something farmore valuable on their journeys: perspective.

Young Robert Pachal crosses Canada by train with his brotherinlaw’s coffin, bearing witness to a way of life that will never be seen again. When he arrives in Barry’s Bay, he unwittingly sets in motion one of the final and most tragic events in pioneer Canada.

In this work, Peter Unwin discusses the run up to Suez and the conflict itself, and also provides an account of the crisis and uprising in Hungary.

In these twenty stories Peter Unwin takes a contemporary journey to a place called 'the north', where spaghetti is served 'Italian style' and local economies are based primarily on the sale of dew worms. Told with a barely-suppressed hilarity, these stories are set, for the most part, against the vanishing backdrop of a once-bountiful Ontario. In a series of acutely drawn incidents, the author strips away the ingrained, romanticized version of rural life to reveal a place where people climb, confidently, and blind drunk, behind the wheel of their pick-up trucks, crash through the spring ice of glacial lakes while carting a case of beer on their shoulders, and happily break every hunting and fishing regulation ever invented. The intense humour of these stories is tempered only by the realities of the landscapes in which they're set. Unemployment, the collapse of a notorious forest industry, high rates of alcoholism and suicide, all inform The Rock Farmers with its tragic counterpoint. The result is a vital, contemporary portrait of a stubborn people working a hard land, for a doubtful harvest.

The English Channel separates Britain from Europe, keeping invaders out of Britain and making the island and islanders different from the continent and their fellow Europeans. But the Channel also serves as a link between mainland and island, bearing settlers, missionaries, merchants, refugees and conquerors back and forth over the millennia. Explorers and adventurers have sailed its waters, and leaders from Julius Caesar to Napoleon and Hitler have battled for sovereignty over these narrow seas. Peter Unwin tells the story of the English Channel from the land-bridge that linked Britain to the continent nine thousand years ago to the Channel tunnel of the 21st century, charting the landscape and seascape of northern Europe's gateway to the oceans.

Volume 10 brings together Russell's writings on ethics, politics, religion and academic philosophy.

The fighting on the Kokoda Track in World War II is second only to Gallipoli in the Australian national consciousness. The Kokoda campaign of 1942 has taken on mythical status in Australian military history. According to the legend, Australian soldiers were vastly outnumbered by the Japanese, who suffered great losses in battle and as a result of the harsh conditions of the Kokoda Track. In this important book, Peter Williams seeks to dispel the Kokoda myth. Using extensive research and Japanese sources, he explains what really happened on the Kokoda Track in 1942. Unlike most other books written from an Australian perspective, The Kokoda Campaign 1942: Myth and reality focuses on the strategies, tactics and battle plans of the Japanese and shows that the Australians were in fact rarely outnumbered. For the first time, this book combines narrative with careful analysis to present an undistorted picture of the events of the campaign. It is a must-read for anyone who is interested in the truth of the Kokoda campaign of 1942.

The three volumes in the PRINCIPLES OF ELECTRON OPTICS Series constitute the first comprehensive treatment of electron optics in over forty years. While Volumes 1 and 2 are devoted to geometrical optics, Volume 3 is concerned with wave optics and effects due to wave length. Subjects covered include:Derivation of the laws of electron propagation from SchrUdinger's equationImage formation and the notion of resolutionThe interaction between specimens and electronsImage processingElectron holography and interferenceCoherence, brightness, and the spectral functionTogether, these works comprise a unique and informative treatment of the subject. Volume 3, like its predecessors, will provide readers with both a textbook and an invaluable reference source.

Originally published in 1990, this book brought a new rigor and subtlety to the interpretation of film adaptations of Shakespeare. Drawing on traditional literary analysis, psychoanalysis, and current film theory about gender and subjectivity, the author combines close readings of seven films with historical and biographical studies of the directors who made them. Offering substantial readings of Jean-Luc Godard’s controversial deconstructed King Lear and of Liz White’s independent African-American Othello, Donaldson also applies his provocative and contemporary point of view to more familiar films. He reads Olivier’s Henry V in relation to its treatment of sexual difference; Olivier’s Hamlet in part as an expression of the director’s childhood sexual trauma; Kurosawa’s Throne of Blood as an allegory of the relationship between Western and Japanese cinema; and Zeffirelli’s immensely popular Romeo and Juliet in the light of its powerful homoerotic subtext. With striking perspectives on Shakespeare, on the movies as an expressive medium, and on the complex processes of cultural change, this is timeless useful reading for teachers and students of film and literature.