Michael McClellan

"An astounding epic novel of J.R.R. Tolkien proportions!" — Steven Pressfield, Bestselling author of Gates of Fire and The War of Art Raiders of the Lost Ark playing A Game of Thrones The Sand Sea takes place on an alternative Earth roiled by war and conquest that mirrors our own Gilded Age. The treasure that ignites greed and folly in this parallel world is not petroleum, but beserite—a mineral of immeasurable value. Captivated by an ancient prophecy and the call of adventure, inexperienced nobleman and scholar Peter Harmon (think of a young Winston Churchill-like naif) joins an expedition to stake his nation’s claim to a global empire. Harmon’s destination is a vast and inhospitable desert halfway around the world, dominated by the iron-fisted Grand Vizer Jemojeen Jongdar. A tyrant on a mission to secure the ancient and supernatural Staff of the Ram, the Lion, and the Serpent, Jongdar knows the truth that others can only imagine: The one who controls the staff will possess the power to rule the world. Before he can seize his destiny, Jongdar must find and destroy the one person capable of thwarting his ambition, the rightful heir to the Sand Sea realm, an innocent woman named Selena Savanar. Can the brave and indomitable Selena accept her true destiny and rally her people in the eye of a gathering storm? To do so will require her to outwit the man who burned her father alive and left her an orphan and beggar a lifetime ago. Or will Peter Harmon and the cadre of opportunists he rides with conquer the divided empire? With the mythic structure of J.R.R. Tolkien’s The Lord of the Rings trilogy in a world as rich and real as George R.R. Martin’s Westeros, The Sand Sea is an immersive experience made to order for epic fantasy fans and anyone who enjoys grand-scale historical fiction.

The Sand Sea

Stephen Farber

Challenging the common assumption that the early 1960s were a drab time for American film, this book makes the bold case that 1962 was a peak year for the movies, giving audiences a prime mix of adult, artistic, and uncompromising work from Hollywood veterans, hot young directors, and international auteurs.

The Greatest Year at the Movies

Cinema '62

Computer systems have become an integral part of most companies. The newest of these is Manufacturing Execution Systems (MES), a technology that provides on-line application software that companies rely on to manage their manufacturing processes. Applying Manufacturing Execution Systems is the book for everyone who has the responsibility of improving their company's manufacturing results. It shows how the current conditions on the plant floor can be optimized to improve production output using an integrated MES. Applying Manufacturing Execution Systems shows how MES benefits all types of manufacturing from discrete item production to process flow production. The concepts discussed are applicable in all production facilities where a number of variables, whether simple or complex, need to be considered in order to optimize production by effectively using the available resources of people, inventory, and equipment. The book emphasizes the application of MES in the real world of manufacturing that includes:

Applying Manufacturing Execution Systems

Lawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more. Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema ’62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since. Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O’Toole, and Omar Sharif. Above all, 1962—the year of To Kill a Mockingbird and The Manchurian Candidate—gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year’s Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema ’62 makes a strong case that the movies peaked in the Kennedy era.

Michael McClellan

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