Archive for the ‘New Release’ Category
It is the color of the Virgin Mary’s cloak, a dazzling pigment desired by artists, an exquisite hue infused with danger, adventure, and perhaps even the supernatural. It is . . . Sacré Bleu. In July 1890, Vincent van Gogh went into a cornfield and shot himself. Or did he? Why would an artist at the height of his creative powers attempt to take his own life . . . and then walk a mile to a doctor’s house for help? Who was the crooked little “color man” Vincent had claimed was stalking him across France? And why had the painter recently become deathly afraid of a certain shade of blue? These are just a few of the questions confronting Vincent’s friends, baker-turned-painter Lucien Lessard and bon vivant Henri Toulouse-Lautrec, who vow to discover the truth about van Gogh’s untimely death. Their quest will lead them on a surreal odyssey and brothel-crawl deep into the art world of late nineteenth-century Paris. Oh là là, quelle surprise, and zut alors! A delectable confection of intrigue, passion, and art history, with cancan girls, baguettes, and fine French cognac thrown in for good measure. Sacré Bleu is another masterpiece of wit and wonder from the one, the only, Christopher Moore.
Alison Bechdel’s Fun Home was a pop culture and literary phenomenon. Now, a second thrilling tale of filial sleuthery, this time about her mother: voracious reader (London Review of Books to Star Magazine); music lover (opera to death metal); passionate amateur actor. Also a woman, unhappily married to a closeted gay man, whose artistic aspirations simmered under the surface of Bechdel’s childhood . . . and who stopped touching or kissing her daughter goodnight, forever, when she was seven. Poignantly, hilariously, Bechdel embarks on a quest for answers concerning the mother-daughter gulf. It’s a richly layered search that leads readers from the fascinating life and work of iconic 20th-century psychoanalyst Donald Winnicott, to one explosively illuminating Dr. Seuss illustration, to Bechdel’s own (serially monogamous) adult love life. And, finally, back to Mother–to a truce, fragile and real-time, that will move and astonish all adult children of gifted mothers.
These eight new stories from the celebrated novelist and short-story writer Nathan Englander display a gifted young author grappling with the great questions of modern life, with a command of language and the imagination that place Englander at the very forefront of contemporary American fiction.
The title story, inspired by Raymond Carver’s masterpiece, is a provocative portrait of two marriages in which the Holocaust is played out as a devastating parlor game. In the outlandishly dark “Camp Sundown” vigilante justice is undertaken by a group of geriatric campers in a bucolic summer enclave. “Free Fruit for Young Widows” is a small, sharp study in evil, lovingly told by a father to a son. “Sister Hills” chronicles the history of Israel’s settlements from the eve of the Yom Kippur War through the present, a political fable constructed around the tale of two mothers who strike a terrible bargain to save a child. Marking a return to two of Englander’s classic themes, “Peep Show” and “How We Avenged the Blums” wrestle with sexual longing and ingenuity in the face of adversity and peril. And “Everything I Know About My Family on My Mother’s Side” is suffused with an intimacy and tenderness that break new ground for a writer who seems constantly to be expanding the parameters of what he can achieve in the short form.
Beautiful and courageous, funny and achingly sad, Englander’s work is a revelation.
Global warming, energy shortages, overpopulation — it’s no wonder that as a society, we’re in an apocalyptic mood. Out of an endless stream of gloomy prognoses for humanity’s future, we have emerged with little inspiration and few concrete ideas for change. Our Way Out is the first time that our most urgent global challenges have been treated as aspects of a single, larger crisis — and the first to acknowledge that while crises reinforce each other, solutions enable each other. The transformation to sustainability is already happening, in many small ways, in many parts of the world. Our Way Out shows us how we can scale up these efforts to create meaningful and lasting change.
This is not a book on climate change, energy, or any other single issue — it is the story of how within the solutions to the global crises we face, lie the seeds of something greater. It is a handbook for immense and exciting worldwide change. And, not least of all, it offers us robust hope that we can make things better.
In the latest endearing installment in the bestselling No. 1 Ladies’ Detective Agency series, our resourceful heroine, Precious Ramotswe, whose primary mission is to help people with the problems in their lives, has her hands full.
Precious Ramotswe is called in to tackle a disciplinary problem at a local school. Mysteries involving children are always rather difficult, and in this case, making this more complicated is the fact that it’s her adopted daughter’s school. Meanwhile, her trusted assistant, Grace Makutsi, is having trouble adjusting to wedded bliss, a problem that may test even Precious Ramotswe’s formidable talents. Finally, Mma Ramotswe and Mma Makutsi meet an old mentor for the first time, when the estimable Clovis Andersen, author of their personal manual,Principles of Private Investigation, arrives in Botswana on a case. All this and bush tea too–life is indeed rich in Botswana.
How did a small art college in Nova Scotia become the epicenter of art education–and to a large extent of the postmimimalist and conceptual art world itself–in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax.
A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today’s masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college’s visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era.
From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school’s activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists’ talks, and notes on memorable controversies.
About the Author
Garry Neill Kennedy is a Canadian conceptual artist who was awarded the Portia White Prize by the Arts Council of Nova Scotia in 2000 and a Governor General’s Award in Visual and Media Arts in 2004. From 1967 to 1990 he was President of the Nova Scotia College of Art and Design.
From the author of The Architecture of Happiness, a deeply moving meditation on how we can still benefit, without believing, from the wisdom, the beauty, and the consolatory power that religion has to offer.
Alain de Botton was brought up in a committedly atheistic household, and though he was powerfully swayed by his parents’ views, he underwent, in his mid-twenties, a crisis of faithlessness. His feelings of doubt about atheism had their origins in listening to Bach’s cantatas, were further developed in the presence of certain Bellini Madonnas, and became overwhelming with an introduction to Zen architecture. However, it was not until his father’s death — buried under a Hebrew headstone in a Jewish cemetery because he had intriguingly omitted to make more secular arrangements — that Alain began to face the full degree of his ambivalence regarding the views of religion that he had dutifully accepted. Why are we presented with the curious choice between either committing to peculiar concepts about immaterial deities or letting go entirely of a host of consoling, subtle and effective rituals and practices for which there is no equivalent in secular society? Why do we bristle at the mention of the word “morality”? Flee from the idea that art should be uplifting, or have an ethical purpose? Why don’t we build temples? What mechanisms do we have for expressing gratitude? The challenge that de Botton addresses in his book: how to separate ideas and practices from the religious institutions that have laid claim to them. InReligion for Atheists is an argument to free our soul-related needs from the particular influence of religions, even if it is, paradoxically, the study of religion that will
The big-hearted story of a ten-year-old boy, a notebook and the meaning of the universe. Even though he’s only ten years old, Arthur Williams knows lots of things for sure. He knows all about trilobites, and bridge, and that he doesn’t want to be Victoria Brown’s boyfriend, and that tapping maple trees causes them excruciating pain. He knows his real dad is probably flying a hot-air balloon across the Pacific, or paving a city with moss. And he knows that Simon, the guy who pretends to be his dad, does absolutely nothing interesting. But when Arthur finds a weather-worn notebook in the woods behind his house, all he has are questions. Why was its author, Phil, so sad, and why does it end on page 43? Suddenly, there are other questions too: Why do people abandon people? Why do they abandon themselves? Arthur embarks on a top-secret investigation to find out who Phil is — or was. But getting straight answers from grown-ups is impossible, and before long, the only thing he knows for sure is that everything he thought he knew about life is probably wrong and that what he has to do is ten times bigger than what he can do. Told through a trio of voices: the wildly imaginative and perpetually awkward Arthur, Phil’s manic journal and the forest that watches them both, Ben Stephenson’s debut novel is a heartbreaking story of love, death and the unspeakable pain of being small. A Matter of Life and Death Or Something marks the exciting debut of an inventive and gifted storyteller.
The powerful Chinese novel about love and war on which Zhang Yimou (Raise the Red Lantern; Crouching Tiger, Hidden Dragon) has based his latest film starring Christian Bale to be released in 2012.
This moving short novel is based on true events that took place during the Nanjing Massacre in 1937 when the Japanese invaded the Chinese city, slaughtering not only soldiers but raping and murdering the civilian population as well. It tells the story of an American missionary who, for a few terrifying days, finds himself sheltering a group of schoolgirls, prostitutes and wounded Chinese soldiers in the compound of his church.
American priest Father Engelmann is one of the small group of Westerners who have remained in Nanjing, despite the approach of the Japanese. America is not yet in the war and so his church compound is supposedly neutral territory. However, his confidence in his ability to look after the Chinese schoolgirls left in his care is shaken when thirteen prostitutes from the floating brothel on the nearby Yangtze River climb over the compound wall and demand to be hidden. The situation becomes even more intense when some wounded Chinese soldiers appear. Meanwhile Engelmann is becoming increasingly aware of the barbaric behaviour of the Japanese outside the compound walls. It is only a matter of time before they knock on the door and find the people he is protecting.
Like Irène Némirovsky’s Suite Française, this poignant book looks at the effect upon individuals of large-scale war and tragedy. The characters are beautifully observed. From the naive schoolgirls, the brazen prostitutes and the frightened soldiers to the slightly priggish priest and his resentful Chinese entourage. As the Japanese circle ever closer, the barriers of hatred and prejudice that separate the characters dissolve, and they perform unexpected and moving acts of heroism. Geling Yan, an important Chinese writer, reveals herself to be a master of detail and emotion in this novel. She recreates history as if it is unfolding before our eyes, and writes characters that are so engaging and so rich that we believe in them entirely. This is a novel full of humanity — at its worst and at its best — and a fascinating insight into 1930s China.
In Solar Dance, acclaimed writer and scholar Modris Eksteins uses Vincent van Gogh as his lens for this brilliant survey of Western culture and politics in the last century.
The long-awaited follow-up to Modris Eksteins’ internationally acclaimed Rites of Spring and Walking Since Daybreak. Now he has produced another thrilling, iconoclastic work of cultural history that is a trailblazing biography of an era–from the eve of the First World War and the rise of Hitler to the fall of the Berlin Wall–that illuminates our current world, with its cults of celebrity and the crisis of the authentic. Solar Dance is a penetrating examination of legitimacy and truth, fakery and pretence–highly relevant to all of us today.