Grace loves stories, whether they're from books, movies, or the kind her grandmother tells. So when she gets a chance to play a part in Peter Pan, she knows exactly who she wants to be. Remarkable watercolor illustrations give full expression to Grace's high-flying imagination.
The intellectual and the popular: Irving Howe and John Waters, Susan Sontag and Ethel Rosenberg, Dwight MacDonald and Bill Cosby, Amiri Baraka and Mick Jagger, Andrea Dworkin and Grace Jones, Andy Warhol and Lenny Bruce. All feature in Andrew Ross's lively history and critique of modern American culture. Andrew Ross examines how and why the cultural authority of modern intellectuals is bound up with the changing face of popular taste in America. He argues that the making of "taste" is hardly an aesthetic activity, but rather an exercise in cultural power, policing and carefully redefining social relations between classes.
On September 13, 1862, in a field near Frederick, Maryland, four Union soldiers hit the jack-pot. There they found, wrapped carelessly around three cigars, a copy of General Robert E. Lee's most recent orders detailing Southern objectives and letting Union officers know that Lee had split his Army into four vulnerable groups. General George B. McClellan realized his opportunity to destroy the Army of Northern Virginia one piece at a time. "If I cannot whip Bobbie Lee," exulted McClellan, "I will be willing to go home." But the notoriously prudent Union general allowed precious hours to pass, and, by the time he moved, Lee's army had begun to regroup and prepare for battle near Antietam Creek. The ensuing fight would prove to be not only the bloodiest single day of the entire Civil War, but the bloodiest in the history of the U.S. Army.
Countless historians have analyzed Antietam (known as Sharpsburg in the South) and its aftermath, some concluding that McClellan's failure to vanquish Lee constituted a Southern victory, others that the Confederate retreat into Virginia was a strategic win for the North. But in Antietam: The Soldiers' Battle, historian John Michael Priest tells this brutal tale of slaughter from an entirely new point of view: that of the common enlisted man. Concentrating on the days of actual battle--September 16, 17, and 18, 1862--Priest vividly brings to life the fear, the horror, and the profound courage that soldiers displayed, from the first Federal cavalry probe of the Confederate lines to the last skirmish on the streets of Sharpsburg. Antietam is not a book about generals and their grand strategies, but rather concerns men such as the Pennsylvanian corporal who lied to receive the Medal of Honor; the Virginian who lay unattended on the battlefield through most of the second day of fighting, his arm shattered from a Union artillery shell; the Confederate surgeon who wrote to the sweetheart he left behind enemy lines in Harrisburg, Pennsylvania that he had seen so much death and suffering that his "head had whitened and my very soul turned to stone."
Besides being a gripping tale charged with the immediacy of firsthand accounts of the fighting, Antietam also dispels many misconceptions long held by historians and Civil War buffs alike. Seventy-two detailed maps--which describe the battle in the hourly and quarter-hourly formats established by the Cope Maps of 1904--together with rarely-seen photographs and his own intimate knowledge of the Antietam terrain, allow Priest to offer a substantially new interpretation of what actually happened.
When the last cannon fell silent and the Antietam Creek no longer ran red with Union and Confederate blood, twice as many Americans had been killed in just one day as lost their lives in the War of 1812, the Mexican War, and the Spanish-American war combined. This is a book about battle, but more particularly, about the human dimension in battle. It asks "What was it like?" and while the answers to this simple question by turns horrify and fascinate, they more importantly add a whole new dimension to the study of the American Civil War.
Gustav Gl ck, director of Vienna's Kunsthistorisches Museum, wrote as early as 1922 of Gustav Klimt (1862-1918) that his drawings were perhaps his ultimate artistic achievement. This founder of Secessionsstil and leader of the revolt against the Viennese academies was able to achieve greater freedom in his drawings than in his more laboriously executed paintings. While there are only about two hundred completed oils, the drawings number in the thousands, and are reported to have at times quite littered his studio. He himself considered them finished works, and often exhibited them alongside his paintings.
Klimt's subject matter is almost exclusively the female body, naked or half clothed. For this he earned the reputation of erotic artist, and while he did not suffer the outright persecutions of his successors Schiele and Kokoschka, he was nevertheless subjected to the trials that a frankly erotic artist had to undergo in Vienna, where the everyday subject of conversation was the current love affairs of celebrities but where audiences were shocked by the sight of a dancer's naked legs. An issue of Ver Sacrum which reproduced one of his drawings was confiscated by the authorities.
The drawings reveal above all that concern of great draughtsmen from Michelangelo through Blake the marriage of subtle grace and expressive dynamism that is the human body. Like that of these two past masters, Klimt's method is essentially linear. He knew, as they did, that line, rather than shading, the creation of volume or the use of color, is the natural medium for expressing the freedom of the living human form. As he matured as an artist there was an increasing awareness of this and a greater and greater spontaneity that approached, finally, the lightness of a net of gauze.
As a novelist, art critic, and cultural historian, Booker Prize-winning author John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.
A young woman holds her newborn son
And looks at him lovingly.
"I'll love you forever
I'll like you for always
As long as I'm living
My baby you'll be."
So begins the story that has touched the hearts of millions worldwide. Since publication in l986, Love You Forever has sold more than 30 million copies in paperback and the regular hardcover edition (as well as hundreds of thousands of copies in Spanish and French).
Firefly Books is proud to offer this sentimental favorite in a variety of editions and sizes:
We offer a trade paper and laminated hardcover edition in a 8" x 8" size.
In gift editions we carry:
a slipcased edition (8 1/2" x 8 1/4"), with a laminated box and a cloth binding on the book
and a 10" x 10" laminated hardcover with jacket.
And a Big Book Edition, 16" x 16" with a trade paper binding.
Don't miss The Pharos Gate, the final volume in the Griffin & Sabine story. Published simultaneously with the 25th-anniversary edition of Griffin & Sabine, the book finally shares what happened to the lovers.Griffin--Foolish man. You cannot turn me into a phantom because you are frightened. You do not dismiss a muse at a whim. If you will not join me, then I will come to you. --Sabine Sabine was supposed to be imaginary, a friend and lover that Griffin had created to soothe his loneliness. But she threatens to become embodied, to appear on his doorstep, in fact. So he runs. Griffin & Sabine, the most creative and talked-about bestseller of 1991, left readers on the edge of a precipice. With Sabine's Notebook, they begin--along with Griffin--the fall. Once again, the story is told through strangely beautiful postcards and richly decorated letters that must actually be pulled from their envelopes to be read. But this volume is also a sketchbook and diary kept by the possibly unreal Sabine, who is living in Griffin's house in London while he wanders through Europe, North Africa, and Asia, backwards through layers of ancient civilizations--and of himself. Filled with her delicately macabre drawings and notations, the notebook adds a darker element of visual intrigue to their complex and mysterious world. For the thousands who finished Griffin & Sabine and asked, "What happened next?," this second volume in the quartet provides the answers--but raises new and even more haunting questions of its own.