Books about Aquatic from Amazon.com

Once again Sue Miller takes us deep into the private lives of women with this mesmerizing portrait of two marriages exposed in all their shame and imperfection, and in their obdurate, unyielding love. The author of the iconic The Good Mother and the best-selling While I Was Gone brings her marvelous gifts to a powerful story of two unconventional women who unexpectedly change each other’s lives.

Meri is newly married, pregnant, and standing on the cusp of her life as a wife and mother, recognizing with some terror the gap between reality and expectation. Delia Naughton—wife of the two-term liberal senator Tom Naughton—is Meri’s new neighbor in the adjacent New England town house. Delia’s husband’s chronic infidelity has been an open secret in Washington circles, but despite the complexity of their relationship, the bond between them remains strong. What keeps people together, even in the midst of profound betrayal? How can a journey imperiled by, and sometimes indistinguishable from, compromise and disappointment culminate in healing and grace? Delia and Meri find themselves leading strangely parallel lives, both reckoning with the contours and mysteries of marriage, one refined and abraded by years of complicated intimacy, the other barely begun.

Here are all the things for which Sue Miller has always been beloved—the complexity of experience precisely rendered, the richness of character and emotion, the superb economy of style—fused with an utterly engrossing story that has a great deal to say to women, and men, of all ages.

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This newly designed field guides features detailed descriptions of 595 species and subspecies The 656 full-color illustrations and 384 drawings show key details for accurate identification. More than 100 color photographs and 333 color photographs and 333 color distribution maps accompany the species descriptions..
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Amazon Best of the Month, April 2008: Defining the life of legendary surf icon Miklos "Miki" Dora can be as elusive as the man himself The self-proclaimed "King of Malibu" has been compared to trailblazers such as Bob Dylan, Jack Kerouac, and Pablo Picasso for providing the archetype of the counterculture surfer. Yet he was also a convicted felon who rarely missed an opportunity to scam even his closest friends. All for a Few Perfect Waves meets this conflicted figure head on, as David Rensin provides a rare look at the famously guarded Dora through hundreds of interviews with those who knew him best. The result is a portrait of a life wedged between hyperbole and vulnerability. His beguiling personality charmed many, but few relationships and situations were ever deemed off-limits to a con. Happily, any judgments are left up to the reader, as Rensin's engaging narrative seeks only to explore the inner workings of a man who truly lived life on his own terms. --Dave Callanan

An Exclusive Q&A with David Rensin, Author of All for a Few Perfect Waves

When profiling an elusive figure like Miki Dora, the "why" is evident, but not the "how." How did you manage to gain unfettered access to Dora lore?
Rensin: To gain access to people, stories and material like letters, faxes, emails, photos, and interviews, I had to first gain everyone's trust - not an easy task when you consider that Miki spent his life mostly avoiding the press, complaining about it, telling his friends to not sell him about and not talk about him. And, when someone did break through and write about him, as I did for the August 1983 issue of California magazine - for a long time the only mainstream press story about Miki; the rest were in surf genre magazines, including interviews, and Dora's own stories about improbable international adventures - he was likely to threaten a lawsuit. (But never win.)

I started with Miki's father, who sent me to Harry Hodge, the administrator of Miki's estate. Harry is from Australia, and he was head of Quiksilver in Europe, so we met several times when he came through Los Angeles. It really came down to the human connection. We hit it off. He told me what he thought a biography of Miki would have to entail: not trashing Miki, not whitewashing him, not sensationalizing. And the book still had to be warts and all - otherwise it would be seen as dishonest. I told him I could do that. I wouldn't dance on Miki's grave, but I also had to be totally independent. I would not let anyone control the story. My loyalty would be to the story, whatever I found.

I also told him that I thought an oral history, with some narrative connective tissue, would work best because I could gather 360 degrees of opinion about and experiences with Miki. I thought that was the only fair way to go with someone who had such a multi-faceted personality, who compartmentalized so well. If I took a side, I'd get strong reaction against it from some quarter. Better to be non-judgmental about a character about whom everyone was very judgmental.

This helped really put people at ease, and allowed me to get the best and most honest material. No one felt they had to defend a point of view. And though it might run counter to the classic biography, I didn't want to figure out Miki, but to let his mystique remain.

Harry liked that and passed me back to Miki's father, Miklos Dora, Sr. We talked, I told him the same. I knew I had to be absolutely authentic with him and he was authentic in return. He had read the California magazine piece and thought it had captured Miki's character. He also told me I'd been "a little hard" on his son as well. I gave him some of my other books to read. He liked them and gave me the go-ahead.

Now came the hard part: finding people who knew Miki and convincing them to trust me to do a non-judgmental book that wouldn't focus on the easy "outlaw" aspects of his life that landed him in jail for a short while, nor treat him only as a faded old celebrity surfer from Malibu. The idea was to do a portrait of the man, and in so doing, explain the myth. Harry had told me that when discussing the book with Miki over twenty years of lunches and dinners, Miki said he wanted to be thought of as more than just a surfer. As a journalist who had spent some years surfing, but not a surf journalist, I felt I could give him that bigger tableau.

In the end, the tone of my interviews, the questions I asked, the passion I shared, and my willingness to listen instead of try to fit the story to preconceived ideas won out and people trusted me and word spread. I got over one million words of interviews from more than 300 people on five continents.

I guess it worked.

How do you think the famously guarded Miki would react to this book?
Rensin: I was often asked how Miki would react to the book; would he even want it done? Miki had always emphasized how privacy was important. He supposedly hated the commercialization of surfing and his name. These were strong and authentic themes in his life. But they were not absolute. Did he hate being photographed? I've seen many, many snapshots of him. Did he hate surfboard companies and clothing companies? Not if they didn't try to rip him off. Yes, there was a general discontent and desire to be left alone at times--and he wanted empty waves--but his actions were often situational, not carved in stone.

I think that publicly Miki would say he didn't want a book, but privately he would want it. He had to be able to put it down, to always have plausible deniability. Part of what I had to do to gain access to interviews was prove that Miki in fact wanted a legacy. I could do that because I had the correspondence as evidence. He had talked with potential book collaborators and had done some interviews. He met with people who wanted to make movies of his life. It never worked out. Some people say he just gamed these suitors for money, and in some cases that is true. But not always. I think Miki never did his book/movie because had to live his life instead of write about it, and because he wanted too much to be in control. I respect that: the wanting to get it just how he wants it. It's his life after all. He didn't want anyone interpreting it. But he had difficulty trusting co-authors. I suppose he was simply waiting for the right person with the right point of view to come along, but as an experienced collaborator, I wonder how well he would have weathered the ups and downs inherent in that kind of working relationship. It's never easy.

In the end, Miki left the evidence of his life (letters, notebooks, etc.) that he could easily have trashed. He knew someone would inevitably do something. He called it the vultures picking at his bones.

Anyway, does it matter whether or not Miki would have wanted the book? I don't think so.

How would he have reacted? He'd have said I blew it, that I could have gotten the real story if only I'd taken the time. But he'd have carried the book everywhere, showed it around and, depending on the situation, would have said he hated it or loved it. That's Miki.

How was Miki able to reconcile the fact that he played such a significant role in rise of 60's surf cinema? Considering that these films created the surfing population explosion that Miki loathed, it would seem that he made quite a complex bed for himself.
Rensin: I don't think Miki played that big a role in the rise of surf cinema. The irony is simply that at a time when he was most loudly decrying the exploitation of surfing because Gidget and other beach party films had crowded his beloved Malibu, he was also taking money to be a stunt rider and technical advisor. Maybe his ego couldn't let him stay away. Maybe it was the free lunch at the craft services table. Maybe it was his notion that he could subvert from the inside by acting weird as an extra in the background. Maybe he met some women he wanted. Maybe it was just fun, there was no surf, and he needed to do something that day. Later in life he realized that he had in some small way aided and abetted, but I don't think he wasted much time with regret.

Miki has been compared to everyone from Jesus to James Dean. However, after reading All for a Few Perfect Waves, I found my own comparison: he was the Tyler Durden of surfing. Akin to the Fight Club character, surfers cannot always condone Dora's antics, but we quietly support his pursuit for point-break perfection. Do you agree?
Rensin: I agree. Miki, like Durden, was that sage of harsh reality who made his own way, and the hell with the rest of you. Like Durden he was not completely a loner, and was willing to bring along new initiates if they attracted him with their own inner search. Often while writing the book, I kept thinking about Fight Club and how the rule never to talk about Fight Club was Miki's rule for himself. Many of Durden's aphorisms apply as well to Miki: "The things you own end up owning you." "It's only after we've lost everything that we're free to do anything." And my favorite, "Fight club exists only when fight club begins and when it ends." Or, as Miki famously said: "When there's surf I'm totally committed. When there's none, it doesn't exist."

How important was Dora's close and inflammatory relationship with Greg Noll?
Rensin: Dora's relationship with Greg Noll endured fifty choppy years and I think it was an anchor, a familiar place to return to. Noll just didn't take crap from Dora, yet he appreciated the rascal in him. Noll had it, too. They met as kids. They were of an era and mindset. Noll never wanted anything from Dora. When they made "Da Cat" boards, he endured the games Dora played. And he wasn't afraid - after Dora would pay him a visit at home - to ask to check his suitcase for the silverware. He knew what Dora was about, and he let him know he knew, but he never shunned him for it. They could appreciate each other and that love, if you want to call it that, grew over time. Also, Noll is physically imposing. You don't mess with Noll. Dora didn't.

What is your favorite Dora story or experience?
Rensin: It's really tough to come up with a favorite Dora story or experience. Overall, I love his audacity, his willingness to go against the grain, to not be bound by the rules, to so cannily manipulate an innocent surf media to his advantage after they'd helped rip away his paradise of empty waves. He was always pulling stunts like wearing a see-though plastic mask, or letting his groupies chauffeur him around, or having what he called his "party kit" (everything from a glass with ice cubes to a tuxedo, so he could crash Beverly Hills doings with ease), to various little cons and pranks (baby chicks in the lifeguard tower). There are too many to go into here. But I guess if I had to chose, a favorite would be Miki being baptized in the Mormon church when he lived in New Zealand in 1975. He played on the eagerness of two young missionaries and led them on a merry chase. I'm sure he was authentically curious about their vision of the universe, but I think he was definitely tongue-in-cheek. And best of all, he went through with the immersion. Dora was living theater. The idea, the best approach now and then, was to sit back and enjoy the show..
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A bona fide publishing phenomenon, Lynne Truss’s now classic #1 New York Times bestseller Eats, Shoots & Leaves makes its paperback debut after selling over 3 million copies worldwide in hardcover.

We all know the basics of punctuation. Or do we? A look at most neighborhood signage tells a different story. Through sloppy usage and low standards on the Internet, in e-mail, and now text messages, we have made proper punctuation an endangered species.

In Eats, Shoots & Leaves, former editor Truss dares to say, in her delightfully urbane, witty, and very English way, that it is time to look at our commas and semicolons and see them as the wonderful and necessary things they are. This is a book for people who love punctuation and get upset when it is mishandled. From the invention of the question mark in the time of Charlemagne to George Orwell shunning the semicolon, this lively history makes a powerful case for the preservation of a system of printing conventions that is much too subtle to be mucked about with. BACKCOVER: Praise for Lynne Truss and Eats, Shoots & Leaves:

Eats, Shoots & Leaves “makes correct usage so cool that you have to admire Ms. Truss.”
—Janet Maslin, The New York Times

“Witty, smart, passionate.”
—Los Angeles Times Book Review, Best Books Of 2004: Nonfiction

“Who knew grammar could be so much fun?”
—Newsweek

“Witty and instructive. . . . Truss is an entertaining, well-read scold in a culture that could use more scolding.”
—USA Today “Truss is William Safire crossed with John Cleese’s Basil Fawlty.”
—Entertainment Weekly

“Lynne Truss has done the English-speaking world a huge service.”
—The Christian Science Monitor

“This book changed my life in small, perfect ways like learning how to make better coffee or fold an omelet. It’s the perfect gift for anyone who cares about grammar and a gentle introduction for those who don’t care enough.”
—The Boston Sunday Globe

“Lynne Truss makes [punctuation] a joy to contemplate.”
—Elle

“If Lynne Truss were Roman Catholic I’d nominate her for sainthood.” —Frank McCourt, author of Angela’s Ashes

“Truss’s scholarship is impressive and never dry.”
—Edmund Morris, The New York Times Book Review.
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Lopez, one of the most revered surfers of his generation, presents a collection of 41 profiles of those who have been influential in the sport--surfing any time, any where, and in any way..
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The one and only book people need to plunge into the fitness wave of the decade, by the leader in water excerciseand an internationally respected sports physical therapist..
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In a post-Jaws/Discovery Channel world, unearthing fresh data on great white sharks is a feat. So credit Susan Casey not just with finding and spotlighting two biologists who have done truly pioneering field research on the beasts but also with following them and their subjects into the heart of one of the most unnatural habitats on Earth: the Farallon Islands. Though just 30 miles due west of San Francisco, the Farallones--nicknamed the Devil's Teeth for their ragged appearance and raging inhospitality--are utterly alien, which may explain why each autumn, packs of great whites return to gorge on the seals and sea lions that gather there before returning to the Pacific and beyond. That Casey, via her biologist buddies Peter Pyle and Scot Anderson, can even report that sharks apparently follow migratory feeding patterns is a revelation. Throughout The Devil's Teeth, Casey makes clear that year upon year of observing the sharks have given Pyle and Anderson (and by extension, us) insights into shark behavior that are entirely new and too numerous to list. The otherworldly Farallon Islands, meanwhile, also dominate Casey's engaging tale as she charts their transformation from ultradangerous source of wild eggs in the 19th century to ultradangerous real-life shark lab and bird sanctuary today. Despite the plethora of factoids on offer, Casey's style is consistently digestible and very amusing. She also has a knack for putting things into perspective. Take this characteristic passage:

The Farallon great whites are largely unharassed. They might cross paths with the occasional boatload of day-trippers from San Francisco, but they're subjected to none of the behavior-altering coercion that nature's top predators regularly endure so that people can sit in the Winnebago... and get a look at them. This is important because despite their visibility at the Farallones, and despite the impressive truth that sharks are so old they predate trees, great whites have remained among the most mysterious of creatures."

By book's end, it's hard to know what's more captivating: The biologists' groundbreaking data, Casey's primer on the evolution of the Farallones, the islands' symbiotic relationships with the sharks, the gulls and sea lions they attract, or the outpost's resident ghosts. Frankly, it's a nice problem to have. --Kim Hughes

Getting to Know the Great White

It was a BBC documentary on great white sharks visiting California's Farallon Islands that turned Susan Casey from an editor of adventure and outdoors stories in such magazines as Outside to a journalist obsessed with an outdoors adventure of her own. In her Amazon.com interview, Casey recalls the fascinations and the follies of her time with the sharks in the Farallones and discusses everything from the ethics of adventure journalism to the stunning silence and size of nature's perfect predators. And in her answers to the Significant Seven (the seven questions we like to ask every author), she reveals her admiration for both Joseph Mitchell and Johnny Knoxville (once you've read her book, both choices seem appropriate).

The outer edge of the fearsome Maintop Bay, a spooky, boat-eating stretch of water that makes everyone uneasy. Not surprisingly, the sharks seem to love it. (Susan Casey)	An 18-foot shark investigates a 6-foot surfboard. (Peter Pyle)	A shark attack at the Farallones is not usually a subtle event. (Peter Pyle)
Scot Anderson (in orange) observes a feeding. Also in the boat are director Paul Atkins and cinematographer Peter Scoones of the BBC film crew that visited the Farallones in 1993 to film The Great White Shark. (Peter Pyle)	The Farallones researchers see some action from a shark named Bluntnose. (Peter Pyle)	An unquiet cove: Just Imagine (Casey's temporary home) at its moorage in Fisherman's Bay, 150 yards west of Tower Point and 200 yards east of Sugarloaf. (Susan Casey)

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The more than 1,000 species descriptions in this guide include information on range and habitat such as depths, bottom types, water temperatures, and salinity The almost 1,100 illustrations use the Peterson Identification System for quick, accurate field identification..
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