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A best book of the year from New York Public Library, NPR, the Financial Times, Book Riot, and the Sunday Times (London). A fascinating, revelatory portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staffer who spent a decade as a museum guard. Millions of people climb the grand marble staircase to visit the Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They’re the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamorous fledgling career at The New Yorker, Patrick Bringley never thought he’d be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit The New Yorker and sought solace in the most beautiful place he knew. To his surprise and the reader’s delight, this temporary refuge becomes Bringley’s home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards—a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. In the tradition of classic workplace memoirs like Lab Girl and Working Stiff, All The Beauty in the World is a surprising, inspiring portrait of a great museum, its hidden treasures, and the people who make it tick, by one of its most intimate observers.
"Only a few select people enjoy unrestricted access to every nook and cranny of the Metropolitan Museum of Art, and among them are the guards who keep a watchful eye on the two-million-square-foot treasure house. For Bringley, the Museum was a temporary refuge that became his home away from home for a decade. Here he explore his tribe: the artworks and their creators and the subculture of museum guards. Though Bringley gradually returned to the larger world, here he explores the Museums hidden wonders-- and the people who make it tick."--
Taking the concept of beauty seriously, this encyclopedia examines how humanity has sought and continues to seek what is "beautiful" in a variety of cultural contexts, giving readers an understanding of how to look at beauty both intellectually and critically. Is beauty ever more than "skin deep"? Arguably yes, considering that the concept of beauty—and the pursuit of it—has shaped cultures worldwide, across every time period, and has even served to change the course of history. Studying beauty practices yields insight into social status, wealth, political ideology, religious doctrine, and gender expectations, including gender nonconformity. A truly interdisciplinary text, Beauty around the World: A Cultural Encyclopedia presents an insightful perspective on beauty that draws from philosophy, literature, sociology, anthropology, psychology, and feminist studies, giving readers a unique view of world beauty practices. This volume offers information about beauty practices from the past to the present in alphabetical entries that address terms and topics such as "beards," "dreadlocks," "Geisha," "moko tattoos," and "progressive muscularity." Readers will better comprehend how beauty shapes many social interactions in profound ways worldwide, and that the unspoken social agreements that shape ideals of attractiveness and desirability within any given culture can matter very much. The encyclopedia's entries challenge readers to consider the questions "What is beauty?" and "Why does it matter?" A comprehensive bibliography is a valuable resource for further research.
Zahnd issues a challenge to Christians to discover new vitality through re-envisioning, reimagining, and reforming the church according to the pattern of the cruciform. Using stories from the lives of St. Francis of Assisi and from his own life, he teaches believers to stay on the journey to discover the kingdom of God in a fuller, richer way.
AN INSTANT #1 NEW YORK TIMES BESTSELLER Beautiful World, Where Are You is a new novel by Sally Rooney, the bestselling author of Normal People and Conversations with Friends. Alice, a novelist, meets Felix, who works in a warehouse, and asks him if he’d like to travel to Rome with her. In Dublin, her best friend, Eileen, is getting over a break-up, and slips back into flirting with Simon, a man she has known since childhood. Alice, Felix, Eileen, and Simon are still young—but life is catching up with them. They desire each other, they delude each other, they get together, they break apart. They have sex, they worry about sex, they worry about their friendships and the world they live in. Are they standing in the last lighted room before the darkness, bearing witness to something? Will they find a way to believe in a beautiful world?
Alfred Hayes is one of the secret masters of the twentieth century novel, a journalist and scriptwriter and poet who possessed an immaculate ear and who wrote with razorsharp intelligence about passion and its payback. My Face for the World to See is set in Hollywood, where the tonic for anonymity is fame and you’re only as real as your image. At a party, the narrator, a screenwriter, rescues a young woman who staggers with drunken determination into the Pacific. He is living far from his wife in New York and long ago shed any illusions about the value of his work. He just wants to be left alone. And yet without really meaning to, he gets involved with the young woman, who has, it seems, no illusions about love, especially with married men. She’s a survivor, even if her beauty is a little battered from years of not quite making it in the pictures. She’s just like him, he thinks, and as their casual relationship takes on an increasingly troubled and destructive intensity, it seems that might just be true, only not in the way he supposes.
Looks at the life and work of the provocative Catholic social reformer from the personal point of view of someone who knew her well, her granddaughter.
An “exquisite” (The Washington Post) “hauntingly beautiful” (Associated Press) portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staff who spent a decade as a museum guard. Millions of people climb the grand marble staircase to visit the Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They’re the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamourous fledgling career at The New Yorker, Patrick Bringley never thought that he’d be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit The New Yorker and sought solace in the most beautiful place he knew. To his surprise and your delight, this temporary refuge becomes Bringley’s home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards—a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. In the tradition of classic workplace memoirs like Lab Girl and Working Stiff, All the Beauty in the World is an “empathic” (The New York Times Book Review), “moving” (NPR), “consoling, and beautiful” (The Guardian) portrait of a great museum, its hidden treasures, and the people who make it tick, by one of its most intimate observers.
"Shards of glass can cut and wound or magnify a vision," Terry Tempest Williams tells us. "Mosaic celebrates brokenness and the beauty of being brought together." Ranging from Ravenna, Italy, where she learns the ancient art of mosaic, to the American Southwest, where she observes prairie dogs on the brink of extinction, to a small village in Rwanda where she joins genocide survivors to build a memorial from the rubble of war, Williams searches for meaning and community in an era of physical and spiritual fragmentation. In her compassionate meditation on how nature and humans both collide and connect, Williams affirms a reverence for all life, and constructs a narrative of hopeful acts, taking that which is broken and creating something whole.
Culture, Not Politics We live in a politicized time. Culture wars and increasingly partisan conflicts have reduced public discourse to shouting matches between ideologues. But rather than merely bemoaning the vulgarity and sloganeering of this era, says acclaimed author and editor Gregory Wolfe, we should seek to enrich the language of civil discourse. And the best way to do that, Wolfe believes, is to draw nourishment from the deepest sources of culture: art and religious faith. Wolfe has been called “one of the most incisive and persuasive voices of our generation,” and this penetrating and wide-ranging book makes a powerful case for the importance of beauty and imagination to cultural renewal. He begins by tracing his own journey from a young culture warrior bent on attacking the modern world to a career devoted to nurturing the creation of culture through contemporary literature and art that renew the Western tradition. Along the way, Wolfe finds in Renaissance Christian humanists like Erasmus and Thomas More—and their belief that imagination and the arts are needed to offset the danger of ideological abstractions— a “distant mirror” in which to see our own times.