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London- based scientist Anthony Malloy has made a discovery that will hugely benefit global health. A pharmaceutical company is keen to market his invention of the single-use syringe, but its backing comes at a terrible price. What ensues entangles Anthony in a web of intrigue and blackmail that has unforeseeable and surprising consequences for him and the women in his life: his radical sister, his musically gifted daughter and his soon-to-be-ex-wife. His dilemma-fuelled and conscience-ridden journey takes him from London to Vietnam and Thailand and then on to Chicago and Bogota. With characters that we care about, an original and daring premise, and an assured lightness of touch, this is taut, engaging fiction from the author of the critically acclaimed In Search of the Blue Tiger.
In these sixteen tales, Robert Power captures the joys and frailties of seemingly ordinary lives with extraordinary perception and wit. The stories take us from a Manhattan diner to a train station in Vietnam, from the Wild West to small town Australia, in a dazzling display of faith in language and in life. A man staying in New York pretends to be blind and inveigles his way through the defences of a lonely diner waitress; a child beggar in Vietnam makes his determined way through loss and into the world; a father falls prey to the temptations of the internet; a client discovers his psychiatrist’s startling secret; and a wife sends a beautiful, but shocking, letter to her husband, the postman. Each delicious story transports the reader into another world and life with authorial grace and an assured lightness of touch.
Tell it to the Dog. is an exquisitely written memoir that is at once playful, heartbreaking and affirming. From a Dublin childhood to London, then on to Europe, to Asia and Australia, there is a deep engagement with the world in this book about growing up, about human and animal connectedness, about friendship, love and loss. Power understands the uncanniness and endurance of memory. He can make us laugh, and then stop us in our tracks at the profundity of this business of meeting life. Each of these short chapters is beautifully complete; together the whole thing shimmers. In the most delightful and subtle of ways, the language, trajectory and wisdom of Tell it to the Dog underscores our need to embrace our own vulnerabilities, to confront our experiences and memories, and to believe as Jane Austen once wrote, that ‘when pain is over, the remembrance of it often becomes a pleasure’. ‘With exquisite prose and riotous feeling, Robert Power has created a stained glass window of a book, through which we gaze, as if for the first time, into what it means to live a life.’ - Catherine de Saint Phalle, author of Poum and Alexandre
During the 1980s, popular fear of World War III spurred moviemakers to produce dozens of nuclear threat films. Categories ranged from monster movies to post-apocalyptic adventures to realistic depictions of nuclear war and its immediate aftermath. Coverage of atomic angst films isn't new, but this is the first book to solely analyze 1980s nuclear threat movies as a group. Entries range from classics such as The Day After and WarGames to obscurities such as Desert Warrior and Massive Retaliation. Chronological coverage of the 121 films released between 1980 and 1990 includes production details, chapter notes, and critical commentaries.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.