Elena. A wife who will not question her loyalty to a husband she does not love nor her duty to a church whose tenets she does not fully accept. Peyton. A lesbian trapped in an arid relationship and a life that has brought her success but scant emotional sustenance. Their eyes first meet across the distance of a public park. One glance is all it takes for ignition. A slow-building sexual fire soon becomes a conflagration that engulfs both their lives. But no matter how compelling the attraction, no matter how intensely love may reach into the depths of either of their souls, reality is inflexible. Elena's husband is pastor of a church; her son is the center of her life; and she is haunted by a burden of grief and guilt that fixes her firmly in the conventional life she leads.
"A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career effectively spanned less than two decades (cut short by the artist's premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Râealisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing, or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well known in Poland, where her work has been highly influential since early in her career, Szapocznikow's compelling book of work is ripe for art historical reexamination. Alina Szapocznikow: Sculpture Undone, 1955-1972 offers a comprehensive overview of this important artist's work at a moment when international interest is blossoming. Spanning one of the most rich and complex periods of the 20th century, Szapocznikow's oeuvre responds to many of the ideological and artistic developments of her time through artwork that is at once fragmented and transformative, sensual and reflective, playfully realized and politically charged. Featuring over 100 works, including sculpture, drawings, and photography, the exhibition draws on loans from private and public collections, including major institutions in Poland. It is accompanied by a major publication, co published by The Museum of Modern Art and Mercatorfonds, that reflects new scholarship on Szapocznikow, contextualizing this little known artist's work for a wider audience."--Publisher's website.
The New York Times–bestseller set in a divided Naples—now a Netflix original series—from the acclaimed author of My Brilliant Friend and The Lost Daughter. A BEST BOOK OF 2020 The Washington Post·O, The Oprah Magazine·TIME Magazine·NPR·People Magazine·The New York Times Critics·The Guardian·Electric Literature·Financial Times·Times UK·Irish Times·New York Post·Kirkus Reviews·Toronto Star·The Globe and Mail·Harper’s Bazaar·Vogue UK·The Arts Desk Giovanna’s pretty face is changing, turning ugly, at least so her father thinks. Giovanna, he says, looks more like her Aunt Vittoria every day. But can it be true? Is she really changing? Is she turning into her Aunt Vittoria, a woman she hardly knows but whom her mother and father clearly despise? Surely there is a mirror somewhere in which she can see herself as she truly is. Giovanna is searching for her reflection in two kindred cities that fear and detest one another: Naples of the heights, which assumes a mask of refinement, and Naples of the depths, a place of excess and vulgarity. She moves from one to the other in search of the truth, but neither city seems to offer answers or escape. “Another spellbinding coming-of-age tale from a master.” —People Magazine, Top 10 Books of 2020 “The literary event of the year.” —Elle “Ms. Ferrante once again, with undiminished skill and audacity, creates an emotional force field that has at its heart a young girl on the brink of womanhood.” —The Wall Street Journal
What’s worse? Someone using your face for catfishing or realizing you actually do have a crush on the catfished girl? Harper “Band Geek” McKinley just wants to make it through her senior year of marching band—and her Republican father’s presidential campaign. That was a tall order to start, but everything was going well enough until someone made a fake gay dating profile posing as Harper. The real Harper can’t afford for anyone to find out about the Tinder profile for three very important reasons: 1. Her mom is the school dean and dating profiles for students are strictly forbidden. 2. Harper doesn't even know if she likes anyone like that—let alone if she likes other girls. 3. If this secret gets out, her father could lose the election, one she's not sure she even wants him to win. But upon meeting Margot Blanchard, the drumline leader who swiped right, Harper thinks it might be worth the trouble to let Margot get to know the real her. With her dad’s campaign on the line, Harper’s relationship with her family at stake, and no idea who made that fake dating profile, Harper has to decide what’s more important to her: living her truth or becoming the First Daughter of America.
A captivating, emotionally taut novel about the complexities of a friendship between two women—and how it shapes, and reshapes, both of their lives "Filled with gorgeous prose and deep emotion . . . Explores what it means to be an artist, delves into the vicissitudes of life and death, and takes us on journey through the splendor (and sometimes ugliness) of the American West—with dollops of Flaubert, Faulkner, Chekhov, Collette, and Chandler along the way."—Lisa See, author of The Island of Sea Women Jolene and Verna share complicated ties that have crystallized over time. Beginning when they were girls discovering their needs and desires, their ongoing stories have been inextricably linked. But when Verna marries Vincent, Jolene’s ex-husband, their paths may have finally, permanently diverged. A successful and provocative feminist artist, Jolene travels the world, attracting attention wherever she goes. Verna, a writer, works from her home near MacArthur Park in Los Angeles, where she and Vincent plan to spend the rest of their lives in a contemplative, intimate routine. Then Jolene asks one more favor of Verna—to take a road trip with her to their small hometown in Utah. It’s a journey that will force them to confront both the truths and falsehoods of their memories of each other and of the very beginnings of their friendship, and to reckon with the meaning of love, of time itself, of the bonds that matter most to us, and with what we owe one another.
"In poet and artist Elena Botts' new poetry collection: epochs of morning light, we see a shimmering, variegated new voice; we hear: "where the trees still talk to each other, and winter feels like a song..." (from When I have died we will be here). We feel the weather of her emotions; a contract with the ethereal and the visceral, as when we stand within the short but large poem: blossoms back to under the earth: "I felt your ghost move through me out past the Baltic as though you had been in my heart the whole time." In this sensual canvas, beauty never suffers from loneliness, nor the sublime. Each poem herein as Botts wanders memory and weaves tapestries of word worlds, reveals a true and original voice in modern poetry: allowing light to conquer darkness; darkness to defy the estate of the sun, and colors mixed in ways only an artist of the pen could fathom..." - Robert Milby, Hudson Valley New York poet, Poet Laureate, Orange County, NY 2017-2019
Spirited Christian Tala and shy Muslim Leyla could not be more different from each other, but the attraction is immediate and goes deeper than friendship. Moving between Middle Eastern high society and London’s West End, this story explores the clashes between East and West, love and marriage, and convention and individuality creating a humorous and tender tale of unexpected love.
Sergei Eisenstein's cinematic adaptation of Karl Marx's Capital was never realized, yet it has haunted the imagination of many filmmakers, historians, and philosophers to the present day. Dance of Values aims to conjure the phantom of Eisenstein's Capital, presenting for the first time material from the full scope of the film project's archival body. This "visual instruction in the dialectical method," as Eisenstein called it, comprises more than five hundred pages of notes, drawings, press clippings, diagrams, negatives, theoretical reflections, and extensive quotations. Dance of Values explores the internal formal necessity underlying Eisenstein's artistic choices, and argues that its brilliant adaptation of Marx's Capital relied on the fragmentary and nonlinear state of its material. Published here for the first time, sequences from Eisenstein's archival materials are presented in this volume not as mere illustrations but as arguments in their own right, a visual theorization of value.
Megan has just found out that her boss, Adrian Risinger-- maddeningly sexy, pissant billionaire "bad boy"-- is also "Natalie McBride," the author of the steamy, practically porn, romance series that have been keeping her up all hours of the night. Now he needs Meg to impersonate "Natalie" at a series of book signings and conventions. Soon they're getting thrown together in all sorts of ways... and it's not just the printed page that keeping her up all night....
