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"A brilliant thriller with the elements of a crime story. Written with ease, it comprises twists which will leave the reader's mind in a constant, metaphorical question mark. - Venko Andonovski, bestselling Macedonian author of Navel of the WorldYou can't run away if the thing you're running away from is yourself. After a horrible tragedy took her father and sister, Julie moves to Croatia, where she tends bar, paints the afterlife, and maintains a quiet existence. Understanding what happened will take time. In the meantime, she finds solace in her art... until she meets him. The mysterious architect, Adam. Adam is the first man who really sees her. He loves her not despite the tragedies she's endured, but because of them. Until one mistake turns him against her. As Julie struggles to make sense of this inexplicable change, threatening letters seem to find her wherever she goes. Adam disappears. The letters are filled with demands she reluctantly obeys. Where they lead her is where her tragic story began, in the small Macedonian town by the lake, closer to answers about what happened to her loved ones. Will these letters help set her free or expose a much darker secret about her nature and the fateful winter night everything went wrong?
Painted Death is set in an Alaskan coastal town. The disappearance of a local fishing captain leads to community discord over the inclusion of his boat in the towns commemorative mural Lost Seamen of Raven Creek. Kira Logan, the visiting designer of the mural, must solve the mystery of the captains death, and those of two other people, to save her project, help the children of the captain, and reassure the worried townspeople. The smuggling of drugs into the community adds to the conflict as the search for the distributer becomes more intense. Bizarre murders complicate the investigation and leave the police guessing. Can the murderer be found before killing again? Kira risks her life to find the answer. . . . a fascinating combination of mural painting, murder, drugs, and human intrigue. Willma Gore~Author
PERIL PRESS presents: Texas Rangers, March 1954 PAINTED DEATH by Gordon D. Shirreffs The valley swarmed with Apaches, and with two women survivors on his hands, Al Teach knew he'd carried his last mail pouch Al Teach figured he had carried his last mail pouch 5100 Words PLUS BONUS! Texas Rangers, March 1954 DONNER PARTY RENEGADE Feature by Lauran Paine The true tale of an outcast with a big durable heart 2000 Words Texas Rangers, March 1954 A TALL TEXAS TALE Money Talks by Al Sprong 150 Words Texas Rangers, March 1954 A TALL TEXAS TALE The Wet Flame by Hazel Holst 140 Words Texas Rangers, March 1954 SAGEBRUSH SAVVY Feature by S. Omar Barker A Quiz Corral Where a Westerner Answers Readers' Questions About the West 570 Words This edition includes 10 images between story/feature illustrations, cartoons from the issue, and in-house ad, the masthead and the cover to the issue of Texas Rangers that published these stories/features.
Why do we keep returning to certain pictures? What is it we are looking for? How does our understanding of an image change over time? This investigates the nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond and resist their viewers' wishes.
A philosophical perspective on the relation between Paul Klee’s art and his thought. The artist Paul Klee once said that “art does not reproduce the visible but makes visible.” In Klee’s Mirror John Sallis examines the various ways in which Klee’s art makes visible things that ordinarily go unseen. He shows how Klee’s art is like a mirror capable of reflecting not only the surface appearance of things, but also their hidden depth and the cosmic setting to which they belong. Tracing the relation of Klee’s paintings and drawings to music, poetry, and philosophy, Sallis also takes account of Klee’s own extensive writings, both theoretical and autobiographical, and of the incisive lectures that he presented while teaching at the Bauhaus. Featuring large, high-quality reproductions, Klee’s Mirror shows how the painter’s theories both are exemplified in his art and, in turn, are enhanced and extended by what his art achieves and reveals. “Klee’s Mirror is a masterful interpretation of one of the most inspiring artists in the Western tradition, one that will surely capture the interest of philosophers, art history scholars, as well as students and lovers of Paul Klee’s works.” — Alejandro A. Vallega, author of Sense and Finitude: Encounters at the Limits of Language, Art, and the Political “Paul Klee mused in his diary that his art was a kind of mirror whose aim was not ‘to reflect the surface’ but rather ‘to penetrate inside’ such that, for example, his ‘human faces are truer than the real ones.’ In his exquisite new study, Sallis takes up the complex question of Klee’s mysterious mirrors. On the one hand, Klee’s works themselves are mirrors of truth, making visible, Sallis tells us, ‘what otherwise remains invisible,’ reflecting ‘what lies beyond the visible surface of things.’ On the other hand, Klee’s own theoretical writings are extraordinarily articulate and they uniquely mirror his artistic work. Klee’s paintings are not, however, illustrations or representations of Klee’s ideas. The mirror of Klee’s painting demands a new kind of reflective writing. Finally, there is the mirror of Sallis’ own work, deftly navigating between Klee’s brilliant double mirror play, producing in turn a startlingly and innovative mode of writing that twists free of the dualism of sensibility and intelligibility.” — Jason M. Wirth, author of The Conspiracy of Life: Meditations on Schelling and His Time
The history of painters in comics goes back to the dawn of pulp magazine covers. From "The Shadow" and "The Spider" to "The Black Bat" and so many other characters, painter's works have graced the covers of comics and pulps, which have influenced many artists over the decades. This deluxe coffeetable art book, edited and overseen by Alex Ross — one of the comic industry's most recognized painters, whose expertise has helped guide and define its contents — is the most important, most comprehensive prestige hardcover retrospective of the history of painters in comics, of all time.