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It is 1922 when Jonas Knight, a seventy-year-old self-made millionaire begins an expedition to find a mysterious cave that he feels holds the secret to what he has been seeking his entire life eternal youth. Known for his energy and vitality, Knight is aware his time on earth is running out as he embarks on a relentless search for a way to cheat death. After uncovering the history of two rival kings one of whom supposedly discovered a fountain of youth Knight heads to a Greek island where he hopes to find the fountain, which was reported to have been lost forever. After he accidentally slips and plunges into an ancient cave, he is exposed to a plant that can reverse the aging process. Suddenly, his team of scientists learns both the benefits and the problems that accompany the ability to live multiple life cycles. Decades later, Mike Andros is a renowned investigative report and author who is on a fast track to self-destruction. Events beyond his control create a new destiny that leads him straight to the same Greek island, where he soon makes a discovery that has the potential to change the future of mankind.
The family, of English origin, first settled in the Connecticut valley in 1636.
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When Duane Acker assumed the presidency of Kansas State University on July 1, 1975, he inherited both the management team of his 25-year predecessor and their operating traditions. Though universities were past the student unrest days of the Viet Nam era, the average tenure of university presidents was only three and a half years. Acker told his friends his goal was to “survive for six years and stay no more than ten.” Acker shares anecdotally and with some humor a sample of his encounters, several involving pairs. There were the two horse blankets that could not be found for President Reagan’s visit, red-in-the face “debating” by two basketball coaches, the two staff tenure system...
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Famous for their stunts, gags, and images, Buster Keaton's silent films have enticed everyone from Hollywood movie fans to the surrealists, such as Dalí and Buñuel. Here Robert Knopf offers an unprecedented look at the wide-ranging appeal of Keaton's genius, considering his vaudeville roots and his ability to integrate this aesthetic into the techniques of classical Hollywood cinema in the 1920s. When young Buster was being hurled about the stage by his comically irate father in the family's vaudeville act, The Three Keatons, he was perfecting his acrobatic skills, timing, visual humor, and trademark "stone face." As Knopf demonstrates, such theatrics would serve Keaton well as a film dire...