While working for a financial consulting firm that offers insurance against catastrophic events, a young mathematician becomes increasingly obsessed with doomsday scenarios until one of his worst-case scenarios unfolds in Manhattan.

Aboard a ghost ship, sailors discover a tale of treasure, lust, and murder When the tanker finds the yacht, she is far from land, adrift in the middle of the Caribbean. No one is onboard, but the hold is stuffed with cash, the coffeepot is still warm, and a hint of perfume hangs in the air. The passengers have vanished, but the ship’s log tells a chilling story of the madness peculiar to the search for sunken riches. The journal was written by salvage diver Bill Manning, who was out of money and out of luck when he met a statuesque Swede named Shannon. She and her husband hire him to sail them to the Yucatan coast, to find a plane that went down carrying untold wealth. But a pair of gangsters is pursuing them, hoping for a crack at the treasure as well. For the sake of Shannon’s beauty Manning will chase this fortune, knowing it will take him to the height of riches, or to the bottom of the Caribbean Sea.

Odds Against Tomorrow (1959), which stars Harry Belafonte, Robert Ryan, Ed Begley, and Gloria Grahame, is written by blacklisted screenwriter Abraham Polonsky and directed by Robert Wise. The last great film noir of the black and white era it reflects the author's strong social conscience as racial conflict is portrayed as central to the failure of a bank robbery. This publication of the complete script blends the shooting script (written before the film was shot) and the continuity script (the elements which are contained in the finished film). The critical analysis draws extensively on specially conducted interviews with Robert Wise, Harry Belafonte and Abraham Polonsky. Discussed in depth are the significance of a black protagonist within the film noir genre; the adaptation from William McGivern's novel; and the critically celebrated jazz score by John Lewis of the Modern Jazz Quartet.

An “engrossing new biography” of the actor famed for his menacing onscreen persona—and his offscreen work for peace and civil rights (Film Quarterly). The Lives of Robert Ryan is an in-depth look at the gifted, complex, intensely private man Martin Scorsese called “one of the greatest actors in the history of American film.” The son of a Chicago construction executive with strong ties to the Democratic machine, Ryan became a star after World War II on the strength of his menacing performance as an anti-Semitic murderer in the film noir Crossfire. Over the next quarter century, he created a gallery of brooding, neurotic, and violent characters in such movies as Bad Day at Black Rock, Billy Budd, The Dirty Dozen, and The Wild Bunch. His riveting performances expose the darkest impulses of the American psyche during the Cold War. At the same time, Ryan’s marriage to a liberal Quaker and his own conscience launched him into a tireless career of peace and civil rights activism that stood in direct contrast to his screen persona. Drawing on unpublished writings and revealing interviews, film critic J.R. Jones deftly explores the many contradictory facets of Robert Ryan’s public and private lives, and how these lives intertwined in one of the most compelling actors of a generation. “Engaging . . . Jones describes a complex man who grappled publicly with the world’s demons and privately with his own, among them alcohol and depression.” —Associated Press “Jones has done a superb job . . . A masterly biography.” —Library Journal Includes photographs

Susan O'Leary recounts the miraculous and triumphant fight of her then 9-year-old son to survive and recover from a devastating burn covering 98% of his body. The book unveils a truth of universal importance, namely, by helping others in need we canbecome their miracles.

Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life. Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simultaneously transcending the film and reminding viewers of the world outside the movie theater. Jans B. Wager looks at the work of jazz composers such as Miles Davis, Duke Ellington and Billy Strayhorn, Chico Hamilton, and John Lewis as she analyzes films including Sweet Smell of Success, Elevator to the Gallows, Anatomy of a Murder, Odds Against Tomorrow, and considers the neonoir American Hustle. Wager demonstrates how the evolving role of jazz in film noir reflected cultural changes instigated by black social activism during and after World War II and altered Hollywood representations of race and music.

An account of the aid worker co-author's dramatic January 2012 rescue from kidnappers in Somalia by members of a Navy SEAL Team Six unit offers insight into the effective use of targeted U.S. military missions.