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Cornucopia of Madness in Plain Sight is a dark collection of sentimental poems depicting the sometimes humorous, but more often cynical side of love, hate, and whatever's left. It challenges the reader to see the human condition through a different lens.
Other than a delicious root beer float and access to proper pizza, all Garth ‘Nickels’ N’Chalez wants is to see the creation of reality 2.0 happen. He already knows it's going to be bloody, rough and extremely trying, but when you sign up to be the Engineer of that new birth, you have very few choices regarding how it goes down. And when you've got the ancient, venerable and godlike Kith Antal leading an army of unstoppable Harmony soldiers coming at you with the express purposes of being the Victor.... You just can't help but feel it's gonna be even worse. But before Garth can even think about dealing with dear old dad, he's got to get inside Arcade City and deal with the so-called mad Goth king Blake. No one really knows what's under the gigantic clockwork dome that's lasted for thirty thousand years and Garth -not for a lack of trying to get proper Intel- finds himself doing what he does best. Which is basically charging in without thinking to see what happens next; forced to kill an innocent man in order to be sentenced to Arcade City for crimes against a King’s Son, Garth’s only information concerning the Domed, ancient city is that it is thirty thousand years old and filled to the brim with madness and chaos. The moment our hero steps through the Geared Doors leading into the fabled and storied Arcade City, Garth finds himself in –as usual- so far in over his head that his only choice is to push forward, ever forward. Inflicted with a terrible case of nanotech derived-Kingsblood poisoning, assaulted by fear, hunted by Gearmen, surrounded by hideously mutated gearheads and wardogs, saddled with an itinerant –and crankier than thou- blacksmith named Barnabas and balked at every turn, Garth begins the trek to Arcadia, wherein the Dark Iron King waits. Along the way, he and his reluctant companion seek to find a cure for Garth’s maladies, all while skirting dark resurgences of that thing the Engineer fears more than anything: Specter. Outside The Dome, the war for Trinity and It’s Armies does not go well; led by SpecSer Commander Aleksander Politoyov, his forces cannot get through the systemic shield created by Huey, and so he turns his attentions outwards. Employing the resourceful –and uncannily insightful- Tendreel Salingh to discover Garth N’Chalez’ true plans, Aleksander unwittingly sets into motion a series of events that will spiral wildly out of control. Herrig, now Chairman of the renamed Latelyspace Commonwealth, is assaulted on all sides. When Garth escaped the confines of Hospitalis aboard Bravo, the shield protecting Latelyspace from invasion dropped just long enough for him to escape, but also for a handful of Trinity’s forces to sneak in. His system is plagued by Heavy Elites, Specter Techs, and regular Army, and the original Horsemen are chomping at the bit to rain wrack and ruin upon everyone and everything that stands in their way. All this and more awaits. The Unreal Universe gears up for the end and everything is quite literally going to Hell in a hand basket. Will Garth survive Arcade City? Against the mighty Dark Iron King and his even mightier King’s Will … well. Garth will need to bring his ‘A’ Game… Won’t he just?
Omega Squad is no more—in its place stand the Imperial commandos, under the imperious command of Darth Vader and the Empire. The Clone Wars are over, but for those with reason to run from the new galactic Empire, the battle to survive has only just begun. . . . The Jedi have been decimated in the Great Purge, and the Republic has fallen. Now the former Republic commandos—the galaxy’s finest special forces troops, cloned from Jango Fett—find themselves on opposing sides and in very different armor. Some have deserted and fled to Mandalore with the mercenaries, renegade clone troopers, and rogue Jedi who make up Kal Skirata’s ragtag resistance to Imperial occupation. Others—including men from Delta Squad and Omega Squad—now serve as Imperial commandos, a black ops unit within Vader’s own 501st Legion, tasked to hunt down fugitive Jedi and clone deserters. For Darman, who’s grieving for his Jedi wife and separated from his son, it’s an agonizing test of loyalty. But he’s not the only one who’ll be forced to test the ties of brotherhood. On Mandalore, clone deserters and the planet’s own natives, who have no love for the Jedi, will have their most cherished beliefs challenged. In the savage new galactic order, old feuds may have to be set aside to unite against a far bigger threat, and nobody can take old loyalties for granted.
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
For fans of David Sedaris, Tina Fey and Caitlin Moran comes the new book from Jenny Lawson, author of the #1 New York Times bestseller Let's Pretend This Never Happened... In Let's Pretend This Never Happened, Jenny Lawson regaled readers with uproarious stories of her bizarre childhood. In her new book, Furiously Happy, she explores her lifelong battle with mental illness. A hysterical, ridiculous book about crippling depression and anxiety? That sounds like a terrible idea. And terrible ideas are what Jenny does best. As Jenny says: "You can't experience pain without also experiencing the baffling and ridiculous moments of being fiercely, unapologetically, intensely and (above all) furiously happy." It's a philosophy that has - quite literally - saved her life. Jenny's first book, Let's Pretend This Never Happened, was ostensibly about family, but deep down it was about celebrating your own weirdness. Furiously Happy is a book about mental illness, but under the surface it's about embracing joy in fantastic and outrageous ways. And who doesn't need a bit more of that?
"In 1875 Anne Whitney traveled to Florence, Italy, to select the marble for a statue of Samuel Adams commissioned for the U.S. Capitol. That summer, in a small village outside Paris, she noticed a woman who worked as a model for the local sculptors. Not the typical artists model, the woman was quite old and would often drowse while sitting for them, her kerchiefed head fallen forward in sleep. Later, when Whitney returned to America, she brought with her not only the completed statue for her respectable commission but the far less conventional Le Modèle, a deeply human image of the old woman. Created at a time when such subjects as the old and the poor were rarely given attention, Whitney's sculpture is highly innovative for its day. Charlotte Streifer Rubinstein's American Women Sculptors: A History of Women Working in Three Dimensions chronicles the lives and works of hundreds of women such as Anne Whitney, telling of their public successes, their private sensibilities and visions, their unique contributions to their chosen art form as women and as individuals. Rich in anecdote and analysis, the book brings to life their personal stories and the times they lived in to create an intimate yet wide-reaching portrait. It is the first comprehensive survey of the American woman's generous contribution to the sculpted form. From small garden bronzes and portrait busts to large-scale equestrian monuments and war memorials, the works of American women sculptors stand in parks, plazas, and public buildings across the country. Often struggling to overcome the persistent obstacle of sexism - and for women of color, racism - these women took part in every significant art movement of their time: they were neoclassicists who worked in marble in Rome, modernists who brought cubism and abstract sculpture to the United States, leaders among the artists of the Harlem Renaissance, and abstract expressionists, minimalists, and installation artists. Yet despite this continuous history of achievement, their stories have gone largely untold, their contributions often unrecognized. As Rubenstein writes in her introduction, "How many of the thousands who pass Bethesda Fountain in Central Park know that it was created by a woman?" Rubenstein takes as her starting point in this history the expressive masks, basketry, and ceramics of pre-Colonial Native American women rarely included in traditional art surveys. Following are Patience Wright, considered by many to be America's first professional sculptor; the women sculptors of the Gilded Age, whose creativity flourished under the influence of the suffrage movement; the women who worked for the Federal Art Project during the Depression, among the founding members of the Sculptor's Guild, and such important abstract sculptors as Louise Nevelson and Louise Bourgeois. The author concludes with the contributions of such young contemporary sculptors as Maya Lin, whose Vietnam Veterans Memorial Wall has become one of the country's landmarks. Both major and lesser-known artists are included, and the more conventional definitions of sculpture expanded to consider artists working in a variety of three-dimensional forms. Rubinstein discusses the works of weavers, potters, furniture carvers, and even performance artists, acknowledging the enormous influence women have had in these endeavors. Throughout the book Rubinstein illuminates the works themselves and the artists' techniques with detailed description and commentary, while the text is complemented by more than 300 illustrations. American Women Sculptors will be valued for the author's meticulous research and enjoyed for her appreciation of storytelling. It celebrates a rich, lively history." --
Winner of the Pulitzer Prize and a documentary from Ken Burns on PBS, this New York Times bestseller is “an extraordinary achievement” (The New Yorker)—a magnificent, profoundly humane “biography” of cancer—from its first documented appearances thousands of years ago through the epic battles in the twentieth century to cure, control, and conquer it to a radical new understanding of its essence. Physician, researcher, and award-winning science writer, Siddhartha Mukherjee examines cancer with a cellular biologist’s precision, a historian’s perspective, and a biographer’s passion. The result is an astonishingly lucid and eloquent chronicle of a disease humans have lived with—and perished from—for more than five thousand years. The story of cancer is a story of human ingenuity, resilience, and perseverance, but also of hubris, paternalism, and misperception. Mukherjee recounts centuries of discoveries, setbacks, victories, and deaths, told through the eyes of his predecessors and peers, training their wits against an infinitely resourceful adversary that, just three decades ago, was thought to be easily vanquished in an all-out “war against cancer.” The book reads like a literary thriller with cancer as the protagonist. Riveting, urgent, and surprising, The Emperor of All Maladies provides a fascinating glimpse into the future of cancer treatments. It is an illuminating book that provides hope and clarity to those seeking to demystify cancer.
This early work by S. S. Van Dine was originally published in 1933 and we are now republishing it with a brand new introduction. 'The Kennel Murder Case' is one of Van Dine's novels of crime and mystery. S. S. Van Dine was born Willard Huntington Wright in Charlottesville, Virginia in 1888. He attended St. Vincent College, Pomona College and Harvard University, but failed to graduate, leaving to cultivate contacts he had made in the literary world. At the age of twenty-one, Wright began his professional writing career as literary editor of the Los Angeles Times. In 1926, Wright published his first S. S. Van Dine novel, The Benson Murder Case. Wright went on to write eleven more mysteries. The first few books about his upper-class amateur sleuth, Philo Vance, were so popular that Wright became wealthy for the first time in his life. His later books declined in popularity as the reading public's tastes in mystery fiction changed, but during the late twenties and early thirties his work was very successful.
The treatise De mundo offers a cosmology in the Peripatetic tradition which subordinates what happens in the cosmos to the might of an omnipotent god. Thus the work is paradigmatic for the philosophical and religious concepts of the early imperial age, which offer points of contact with nascent Christianity.