Inspired by the life of legendary photographer Edward Curtis, a series of tales about a photographer's developing relationship with the Native Americans he astonishes by showing them pictures of themselves is interspersed with parallel tales about an unsung soldier, a husband, and a father. Reprint. 40,000 first printing.

Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudevill stars, leading thinkers. And he was thirty-two years old in 1900 when he gave it all up to pursue his Great Idea: to capture on film the continent's original inhabitants before the old ways disappeared.

This poetic novel, by the acclaimed author of John Dollar and Properties of Thirst, describes America at the brink of the Atomic Age. In the years between the two world wars, the future held more promise than peril, but there was evidence of things unseen that would transfigure our unquestioned trust in a safe future. Fos has returned to Tennessee from the trenches of France. Intrigued with electricity, bioluminescence, and especially x-rays, he believes in science and the future of technology. On a trip to the Outer Banks to study the Perseid meteor shower, he falls in love with Opal, whose father is a glassblower who can spin color out of light. Fos brings his new wife back to Knoxville where he runs a photography studio with his former Army buddy Flash. A witty rogue and a staunch disbeliever in Prohibition, Flash brings tragedy to the couple when his appetite for pleasure runs up against both the law and the Ku Klux Klan. Fos and Opal are forced to move to Opal’s mother’s farm on the Clinch River, and soon they have a son, Lightfoot. But when the New Deal claims their farm for the TVA, Fos seeks work at the Oak Ridge Laboratory—Site X in the government’s race to build the bomb. And it is there, when Opal falls ill with radiation poisoning, that Fos’s great faith in science deserts him. Their lives have traveled with touching inevitability from their innocence and fascination with "things that glow" to the new world of manmade suns. Hypnotic and powerful, Evidence of Things Unseen constructs a heartbreaking arc through twentieth-century American life and belief.

Sixty of Edward Curtis' photographs are included in this story of his life and the Native American cultures he studied early in the twentieth century, creating what is still the most extensive and informative collection of its kind.

A decade after a failed special ops mission that left a stealth bomber at the bottom of the Persian Gulf, Air Force major Nick Baron leads the Triple Seven Chase team to find and dispose of the bomber before its technology can be stolen by adversarial forces, a mission that is challenged by the daring rescue of a soldier from the Chinese wilderness.

'Eden - it's where your life began, Madeleine. It's a place where the current of life runs stronger than anywhere else. In Eden the sun shines more fiercely, the rain strikes harder, and the trees are so green that it hurts your eyes. Eden is beauty and ugliness and joy and madness and decay. Beneath the great old silk-cotton tree, where the orchids and lianas hang right down to the ground, and the fireflies glitter like spangles from dusk till dawn...' Madeleine is left to bring up her younger sister in a remote cottage on the west coast of Scotland after her mother, Rose, has died in childbirth. Tainted by the discovery that she is illegitimate, Madeleine is plunged into poverty in London before marrying out of desperation a wealthy cousin of her father's, who does not know her true identity. And thus she comes to live at the old family estate of Eden in the hills of Jamaica, often talked about by her mother - a beautiful, decaying house with its overgrown garden, lush sugar plantation and myriads of secrets. Rose had loved Eden more than anything, and now Madeleine has to take her place there.

The very first photographs of the nineteenth century were produced without the use of a camera. Today, having rediscovered camera-less techniques, a number of artists are using camera-less photography to create beautiful, startling images. Now available in an updated and fully revised edition, Shadow Catchers surveys the work of five leading practitioners – Pierre Cordier, Susan Derges, Adam Fuss, Garry Fabian Miller and Floris Neusüss – who, by casting shadows on light- sensitive paper or by chemically manipulating its surface, capture the presence of objects, figures or glowing light. The resulting pictures are consistently powerful, often with surreal effects and symbolic content. This is the first book to gather together the work of these key contemporary artists, revealing the technical processes and creative practices involved in their art. In an age of mass-produced imagery, Shadow Catchers offers a fascinating insight into a world of handcrafted photographs that are at once visually striking and intellectually stimulating.