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The hunter arrives in an isolated community in the Tasmanian wilderness with a single purpose in mind: to find the last thylacine, the tiger of fable, fear and legend. The man is in the employ of the mysterious 'Company', but his sinister purpose is never revealed and as his relationship with a grieving mother and her two children becomes more ambiguous, the hunt becomes his own. Leigh's Tasmania is a place where the wilderness can still claim lives; where the connection between people and the land is at best uneasy and cannot be trusted. In prose of exceptional clarity and elegance, Julia Leigh creates an unforgettable picture of a man obsessed by an almost mythical animal in a damp dangerous landscape. The Hunter is the work of a compelling storyteller and a truly remarkable literary stylist.

The United States of America is home to many amazing species of rattlesnakes. On this poster-print are images of all species and subspecies native to the lower 48 states of the US. ARIZONA BLACK RATTLESNAKE (Crotalus cerberus) • ARIZONA RIDGENOSED RATTLESNAKE (Crotalus willardi) • BANDED ROCK RATTLESNAKE (Crotalus lepidus klauberi) • BLACKTAILED RATTLESNAKE (Crotalus molossus) • CAROLINA PYGMY RATTLESNAKE (Sistrurus miliarius miliarius • COLORADO DESERT SIDEWINDER (Crotalus cerastes laterorepens) • DESERT MASSASAUGA (Sistrurus catenatus edwardsii) • DUSKY PYGMY (Sistrurus miliarius barbouri) • EASTERN DIAMONDBACK RATTLESNAKE (Crotalus adamanteus) • EASTERN MASSASAUGA (Sistrurus catenatus) • GRAND CANYON RATTLESNAKE (Crotalus oreganus abyssus) • GREAT BASIN RATTLESNAKE (Crotalus oreganus lutosus) • HOPI RATTLESNAKE (Crotalus viridis nuntius) • MIDGET-FADED RATTLESNAKE (Crotalus oreganus concolor) • MOJAVE DESERT SIDEWINDER (Crotalus cerastes cerastes) • MOJAVE RATTLESNAKE (Crotalus scutulatus) • MOTTLED ROCK RATTLESNAKE (Crotalus lepidus lepidus) • NEW MEXICO RIDGENOSED RATTLESNAKE (Crotalus willardi obscurus) • NORTHERN PACIFIC RATTLESNAKE (Crotalus oreganus) • ORNATE BLACK-TAILED (Crotalus ornatus) • PANAMINT RATTLESNAKE (Crotalus stephensi) • PRAIRIE MASSASAUGA (Sistrurus tergeminus tergeminus) • PRAIRIE RATTLESNAKE (Crotalus viridis) • RED DIAMONDBACK RATTLESNAKE (Crotalus ruber) • SONORAN SIDEWINDER (Crotalus cerastes cercobombus) • SOUTHWESTERN SPECKLED RATTLESNAKE (Crotalus mitchellii) • TIGER RATTLESNAKE (Crotalus tigris) • TIMBER RATTLESNAKE (Crotalus horridus) • TWIN SPOTTED RATTLESNAKE (Crotalus pricei) • WESTERN DIAMONDBACK RATTLESNAKE (Crotalus atrox) • WESTERN PYGMY RATTLESNAKE (Sistrurus miliarius streckeri) All images are scientifically accurate and expertly drawn by wildlife artist Roger Hall, who has been working in the field for over 20 years for such noted organizations as National Geographic, Scholastic Books, Sunset Magazine and World Wildlife Fund. The poster is printed on matte, museum-quality paper with Giclée printing quality: • Paper thickness: 10.3 mil • Paper weight: 5.6 oz/y² (192 g/m²) • Opacity: 94%

Marvel Comics' Ozma of Oz hardcover is now available at our Hungry Tiger Press on-line store. All copies of the Marvel Oz books sold thru Hungry Tiger Press will be autographed by writer Eric Shanower! If you'd like your book personalized, just let us know how you'd like your book signed, and to whom, when you "check out." Of course we have copies of Marvel's Wonderful Wizard of Oz and The Marvelous Land of Oz, too! If you'd like them signed just let us know. The Oz books are not celebrated for the consistency among their stories. Debating and trying to reconcile the many inconsistencies in the Oz books is a pastime that many Oz enthusiasts enjoy. In fact, an Oz book just doesn't seem really Ozzy unless it has an inconsistency or two. John R. Neill, illustrator of most of the Oz books, was no more consistent in his Oz character design than L. Frank Baum, Ruth Plumly Thompson, and Neill himself were in their Oz stories--yet another quality that made Neill a perfect illustrator for the Oz books. A case in point is Ozma, the royal and rightful ruler of the Land of Oz. Let's contrast and compare the many different versions of Ozma. We'll just stick to Neill's depictions of Ozma this time. Another time we'll look at many of the countless other ways Ozma has been portrayed through the years. (And remember, you can click on any of these pictures to view a larger version.) Here's the very first of Neill's illustrations of Ozma in an Oz book, The Marvelous Land of Oz (1904). If you don't know why this little boy is a picture of Ozma, then you don't know the story. Go read Baum's book, then come join us for the rest of this blog. We'll wait for you. Later in the same book, this Neill illustration of Ozma follows Baum's description "of a young girl, fresh and beautiful as a May morning" with "tresses of ruddy gold." Get a good look at those tresses while you can. They won't last long. In the very next Oz book, Ozma of Oz (1907), Ozma's hair has become dark, as you can see here in one of the most iconic illustrations Neill drew of the character. Commentators have tried to explain Ozma's sudden change of hair color as Neill contrasting Ozma with his version of Dorothy, who's blond. But since this book is the first time Neill drew Dorothy, he could have given little Miss Gale any hair color he wanted. So that explanation doesn't hold much water. Here's another of Neill's iconic images of Ozma from Ozma of Oz. Ozma crossing the Deadly Desert is Dorothy's first glimpse of the girl who would soon become her BFF - that's Best Friend Forever for those of you behind the times - a relationship exemplified by the illustration below from Dorothy and the Wizard in Oz (1908). By The Road to Oz (1909) their relationship is pretty warm. How old is Ozma? No one can really say, least of all Neill. He drew her sometimes as a child, sometimes as an adult, and sometimes in between - often in the same book. In The Road to Oz Ozma looks decidedly more mature than we've seen her in previous books. Ozma's a bit small in this illustration of her birthday banquet from The Road to Oz. But it's too nice an illustration not to share. A lovely portrait of Ozma here in the endpaper from The Emerald City of Oz (1910). This is another of those iconic illustrations that defines the character as much as Baum's text ever did. The Land of Oz had a telephone system early on, obvious in this illustration from Emerald City. Ozma's more mature again here. There's a reason for that. Neill was never one to throw away an illustration that didn't work for one assignment if he could use it elsewhere. Many illustrations for the Oz books show evidence of being originally intended for other uses, including this one. Originally this was likely an illustration for a woman's magazine, perhaps Ladies Home Journal or McCall's, both of which Neill did work for over the years. Neill seems to have turned a generic American woman - inhabiting an up-to-date household complete with telephone - into Ozma of Oz. And now - from the same book - Ozma's a little girl again in this glorious color illustration that's one of the Ozziest images ever created. John R. Neill gets the credit for giving Ozma her poppies, her tall thin crown, and her tiara featuring the Oz symbol, another of Neill's creations. But Ozma doesn't always sport these trademark features - sometimes she varies her headgear, as in this illustration from The Patchwork Girl of Oz (1913), where the tiara and crown are missing. Later in the same book the tiara is back, but now Ozma's exchanged her crown for some sort of feathered knob. It's hard to even accept the character in this illustration from Tik-tok of Oz (1914) as Ozma. The blond hair is back, and that dress and hairstyle don't look so Ozzy on close inspection. It looks like another case of Neill adding Ozzy elements to an illustration of an American woman of the time. In fact, she looks suspiciously like the actress Margaret Carroll who would soon be married to John R. Neill. But the tiara with the Oz symbol is there, so we'll agree that it's Ozma and say no more about it. In The Lost Princess of Oz (1916), Ozma's back to full traditional headgear in another iconic Ozma illustration. Then for most of Glinda of Oz (1920), the poppies and tiara are nowhere in sight. Ozma wears only her crown, now attached to a small skull cap. How Ozma manages the rest of the time to keep that crown firmly sitting on top of her head without the skull cap is anyone's guess. This illustration of Ozma from The Royal Book of Oz (1921) - Ruth Plumly Thompson's first Oz book - re-opens the question of Ozma's hair color. We've been so used to seeing it dark that this version of Ozma can easily be read as having dark hair, but considered objectively, she could be a blonde again. Ozma's choice of clothes changes more than most readers are aware. Here's a rather unique robe from the cover of The Lost King of Oz (1925). And do you remember the time Ozma wore pants? No? Well, here it is from The Yellow Knight of Oz (1930). Once more Ozma is decidedly a mature young woman in this cover for a reprint of Ozma of Oz that Neill drew about 1929. Among circles of Oz fandom this illustration is known as "slinky Ozma." This cover for a reprint of The Emerald City of Oz was done about the same time. It bears a striking resemblance to the illustration of Ozma in pants. Oz enthusiasts have nicknamed this one "cheesecake Ozma." Neill's style evolved through the years, always retaining its spark of life and humor. This illustration of Ozma was drawn very late in his career, for the first of the Oz books Neill wrote himself, The Wonder City of Oz (1940). Ozma has outgrown the girlish demeanor that she displayed early in her reign. Perhaps she's become more sophisticated over the years that she's borne the responsibility of ruling Oz. She's no longer as "young" and "fresh" as she once was, but she's still "as beautiful as a May morning." So choose the version of Ozma you prefer. As you can see, there are plenty of versions to go around.

Inspired by the ABC's new nature documentary? You can be part of Magic Land of Oz. Upload your sightings of Australian native wildlife to our Atlas of Living Australia.

A lush new historical fantasy series that evokes the ambition and widespread appeal of Patrick Rothfuss and the vivid storytelling of Naomi Novik. This is the story of an infamous Qorin warrior, Barsalayaa Shefali, a spoiled divine warrior empress, O-Shizuka, and a power that can reach through time and space to save a land from a truly insidious evil. Even gods can be slain.

The very first issue of CONTACT Air Land & Sea, March 2004.

Nonfiction, graphic novels, diverse options, mysteries—they're all here!

Kenny Omega saw many fans trying to tell him how to wrestle after Forbidden Door, but isn't keen on listening to people that aren't qualified.

Asia is a land of incredible diversity, home to some of the most fascinating animals on the planet. In this blog post, we'll explore the

Paro, Bhutan. Taktsang or ‘Tiger’s Nest’ Monastery near Paro. Completed in 1692, the temple hangs on a cliff at 3,120 metres (10,200 feet), some 700 metres (2,300 feet) above the bottom of Paro valley. The place is highly sacred to the Bhutanese in that they believe Guru Rinpoche, the father of Bhutanese Buddhism landed here on the back of tigress. Nikon D300; Nikkor AF-S DX 18-200mm f/3.5-5.6G VR.

»Das kühnste Debüt des Jahres« (The Observer) von einer aufregenden Newcomerin der Weltliteratur »Wie viel von diesen Hügeln ist Gold« ist eins von Obamas Lieblingsbüchern 2020 Mit einer Pistole in den Händen und der Leiche des Vaters auf dem Rücken des Pferdes sind die chinesischen Waisenkinder Lucy und Sam auf der Flucht durch die Prärie. Es ist ein unbarmherziges Land, von Bisonknochen übersät und dem Goldrausch verfallen. Die Geschwister wollen den Vater gemäß dem chinesischen Ritual begraben – mit zwei Silberdollars auf den Augen. Nur auf diese Weise kann Ba nach Hause finden. Doch wo in dieser fremden Welt ist für Lucy und Sam das Zuhause, das so unerreichbar scheint wie das versprochene Gold in den Hügeln? Mit wilder Sprachmagie erzählt C Pam Zhang, Tochter chinesischer Einwanderer in Amerika, in ihrem Roman »Wie viel von diesen Hügeln ist Gold« von der Sehnsucht anzukommen – an einem Ort und in einer Identität, die sich über die Grenzen von Herkunft und Gender hinwegsetzt.

Highlights In these powerful lyric poems, Idra Novey's exploration of "country" extends beyond national boundaries into the countries of marriage and family, history and the unspoken, leading to a bold and imaginative reckoning of the self with the larger world. About the Author: Idra Novey has received awards from the Poetry Society of America Chapbook Series, the National Endowment for the Arts, and the PEN Translation Fund. 80 Pages Poetry, American Description About the Book Richly metaphorical debut examines what it means to inhabit a world of "losses that outnumber us." Book Synopsis In these powerful lyric poems, Idra Novey's exploration of "country" extends beyond national boundaries into the countries of marriage and family, history and the unspoken, leading to a bold and imaginative reckoning of the self with the larger world. Review Quotes "Big-hearted, individualistic in scope and voice, Idra Novey's The Next Country surveys a terrain that's truly multifaceted and calibrated down to every word, every nuance. Each poem's imagistic certainty enlarges meaning. Line by line, a playful innuendo moves us, and we find ourselves in that rugged country of the human spirit where enlightenment and surprise are twin rulers."--Yusef Komunyakaa "The Next Country is a choice collection of poems. Bold, immediate, uninhibited by fashions, they are very American originals. Drawn from a big landscape, they are intimate with New York and Chile, desert and river, indoors and outdoors. Novey generates the lively mental action that is the joy of true art."--Marie Ponsot "The title of Novey's collection resonates throughout, whether referring to foreign land, dreamscape, marriage or 'the unseen face.' The miraculous and unexpected interrupt the commonplace, as when a violin assembles itself in the poet's coat pocket, or when a blind donkey occupies a dead tiger's cage at the zoo. In the end, we are transported 'To Byzantium, By Train, ' on a journey of haunting self-transformation, and we realize in what deft hands we have been held from the beginning."--Carolyn Forché "In The Next Country, Idra Novey exemplifies a quiet identification with the everyman, not an exclamatory one."- Great American Pinup "Novey strikes a fine balance between hints and allusions to political history and generalized or allegorical locales, not proper nouns or place names but 'leaping wells to the underworld'. . ."--Publishers Weekly, starred review "Each poem is a country and as we read we move from country to country, between regions of human experience, through the territory of the imagination... Novey's appeal to our natural (irresistible) curiosity about where we are, where we are going, and what's over the next hill, will win every time."--Taurpaulin Sky "Novey's collection deftly navigates complex ideas about politics, history and memory by creating timeless allegories...The Next Country is a quiet beauty of a book."-Lilith "[Novey's] spare poems are enticing...luring the reader in with just a few compelling, carefully chosen details...leaving the reader to marvel and wonder and want more."-Pleiades About the Author Idra Novey has received awards from the Poetry Society of America Chapbook Series, the National Endowment for the Arts, and the PEN Translation Fund. Her poems have appeared in Slate, the Paris Review, AGNI, and Ploughshares, and a book of her translations of Brazilian poet Paulo Henriques Britto, The Clean Shirt of It, was published in 2007. She teaches at Columbia University and in the Bard College Prison Initiative.

Two veterans of World War II have recently shared their incredible tales of survival – all thanks to a picture frame and a glasses case. Charlie Truman,

Last week we explored the layout and design of the Emerald City in John R. Neill's The Wonder City of Oz (1940) and The Scalawagons of Oz (1941) and the first, albeit partial, map of the Emerald City that we have seen. In the late 1950s, Oz and Baum scholar Robert R. Pattrick began his own endeavor to map the capitol of America's fairyland. He had published a four part article on Oz geography in The Baum Bugle in 1959 and '60 when he died rather suddenly on August 17, 1960, at the age of thirty-three. Robert R. Pattrick's gravestone at Forest Lawn in Los Angeles. After Pattrick's death, his notes and maps were shared with fellow Oz scholar Judy Pike who picked up where Pattrick left off. Pike published their research in the Spring 1972 issue of The Baum Bugle. It is the Pike/Pattrick map we will be discussing below. Emerald City map by Judy Pike and Robert R. Pattrick (1971) Before we begin analyzing this map I should point out that Judy Pike has flipped Neill's partial map to make it match directions and orientation with the Oz Club maps (which we haven't discussed yet). Apparently, Pattrick had used the Neill/Thompson "Munchkins on the left and in the west" orientation. I don't know if Pattrick actually preferred the Neill/Thompson orientation, but it makes sense that he would have used it while researching this map and working his way through Neill's books looking for details in the text. I do think this concentric beltway/spokes design is very appealing. The map above shows only the major streets. Each of the sixteen "segments" or "blocks" in the map is actually interlaced with winding and twisting streets. Pattrick and Pike also went through the Baum and Thompson books and attempted to work in every textual detail they could find into Neill's EC design. This map shows four gates to the Emerald City, one facing each of the four countries of Oz, as established by Baum in The Patchwork Girl of Oz on page 184. The map also shows: Unk Nunkie's cottage just outside the Munchkin gate; the location of Notta Bit More's circus tent in the far suburbs; the public square (where Ozma's Road to Oz birthday festivities took place) is on the south side of the palace. The Love Magnet is hanging above the South Gate, and Pike has added in many textual locations from the Neill Oz books. Judy Pike seems to have gotten confused about Jack Pumpkinhead's "Pumpkin Park." She has moved it from its textually explicit location north of the Emerald City and repositioned it to the west having drawn in a wedge of Winkie Country to accommodate it. I suspect Pike believed she was restoring Jack's gigantic hollowed-out pumpkin home to its proper Winkie location. But, in fact, Jack's "Pumpkin Park" location is his "second" home where he stays in the old Ozoplane when he wants to be closer to the Emerald City. One problem I have with this map and this research is that Pike is not clear about what detail is explicitly based on textual evidence and what detail Robert R. Pattrick seems to have invented. "Pattrick discovered that four main streets in the city connect the four gates to the palace. They are Celery Street (Winkie Gate), Custard Court (Quadling Gate), Pumpkin Place (Munchkin Gate), and Strawberry Street (Gillikin Gate). Each, as researched by Pattrick in the Neill books, has certain extensions into the countryside, and these extensions are noted on my map." Personally I'd like the references. From my admittedly hasty look through the Neill books I can not find that all four streets are named and that all four road extensions are named. It's possible I missed them. It is also possible that those details are in Neill's original manuscript for The Wonder City of Oz (the published book is heavily rewritten by a staff writer) or possibly from Neill's original manuscript for The Runaway in Oz, both of which Pattrick had access to. Anyway, I haven't had time to plow through the three books and two manuscripts. If any of my readers want to post text references in the comments section of this post I'd be delighted! Pike does imply later that all these streets are mentioned in the text as she deliberately leaves off a few names Pattrick did invent, such as calling the road he adds around the palace Tangerine Terrace. Pike's article is generally very solid and she has worked meticulously through Neill's books to place some of the locations such as Pancake Park: "Although Pattrick always located this park on his maps between Strawberry Street and Doughnut Drive, he enlarged and shrank it in his various map versions. He was trying, I think, to reconcile some of the facts given in the Neill books, primarily the statement that as Sir Hokus comes into the city from Pumpkin Park, he takes a shortcut through Pancake Park to the Castle. In addition, I found that one must be able to look down Pudding Place and see the park, and that, when within the park boundaries, he should be able to see the sun rise. As I've placed Pumpkin Park in the West, Sir Hokus would enter on Celery Street. By locating Pancake Park straddling Celery Street and Pudding Place and fairly close to the walls of the Castle, one may reconcile the facts into an acceptable location. In spite of the high Castle Wall, the sun's rays at daybreak might well reach into the park at the Pudding Place boundary." I will try to add a PDF version of the full article when I have a few minutes. It's very detailed and quite good. Next week, we'll explore some additional ways Neill's Emerald City design and these maps impacted more recent Ozian iconography. Click here for the next Oz map blog post.

A lush new historical fantasy series that evokes the ambition and widespread appeal of Patrick Rothfuss and the vivid storytelling of Naomi Novik. This is the story of an infamous Qorin warrior, Barsalayaa Shefali, a spoiled divine warrior empress, O-Shizuka, and a power that can reach through time and space to save a land from a truly insidious evil. Even gods can be slain.

Following the D-Day landings, the Allies faced a difficult challenge. The countryside of Normandy is made up of bocage - dense terrain full of winding

Carl Mydans' photograph of Gen. Douglas MacArthur at Luzon distills something elemental about MacArthur's larger-than-life persona

Explore auntbealovesyou's 971 photos on Flickr!

The Tasmanian tiger was the world's largest carnivorous marsupial. Recent unconfirmed sightings have spurred searches for this animal that was presumed extinct over 80 years ago.

Almost a decade after her award-winning debut, the author releases 'Inland,' an epic set in the American West

Reading Time: 4 minutes Join the USF Libraries in our fourth year of celebrating the public domain through digitization! Once again, we asked the USF community what it would like to see digitized for the 2022 celebration. 414 votes decided the 22 titles that would be selected from a curated list drawn from the USF Libraries collections. The digitized materials fall into four existing Digital Collections foci: Florida Studies, Environmental Collections, Sheet Music, and Children’s Literature.

File name: 08_05_000212 Title: Ireland. Land of scenery and romance Creator/Contributor: Till, Walter (artist) Date issued: 1910-1959 (approximate) Physical description: 1 print (poster) : color Genre: Travel posters; Prints Subjects: Tourism; Rivers; Great Southern Railway (Ireland) Notes: Title from item. Statement of responsibility: Walter Till Location: Boston Public Library, Print Department Rights: Rights status not evaluated

Discover Top 9 Jungle Safari in India, from Ranthambore's tigers to Hemis' snow leopards. Plan your adventure amidst diverse wildlife!

This multicultural children's book presents classic Korean fairy tales and other folk stories--providing a delightful look into a rich literary culture. The Korean people possess a folklore tradition as colorful and captivating as any in the world, and yet the stories themselves are not as widely-known to Western readers as those from The Brothers Grimm, Mother Goose, or Hans Christian Andersen. In her bestselling book for young readers, Frances Carpenter has collected thirty-two classic Korean children's stories from the \"Land of the Morning Calm\" the woodcutter and the old men of the mountain; the puppy who saved his village from a tiger; the singing girl who danced the Japanese general into the deep river; Why the dog and cat are not friends; and even a more familiar tale of the clever rabbit who outsmarted the tortoise. The children of the Kim family sit at their beloved Grandmother's knee to listen to these and other traditional folk tales which are rooted in thousands of years of Korean culture.