In this uproarious memoir and meticulously researched cultural journey, writer Michael Moran keeps company with a gallery of fantastic characters. In chronicling the resurrection of the nation from war and the Holocaust, he paints a portrait of the unknown Poland, one of monumental castles, primeval forests and, of course, the Poles themselves. This captivating journey into the heart of a country is a timely and brilliant celebration of a valiant and richly cultured people.
Years ago, Tommy Hunter committed a terrible crime. Now he's trying to bring his family back together by the unlikely means of kidnapping them. But the criminal companions of his past, and the police, are closely watching.
Two of the brightest young poets of our day follow in the footsteps of W.H. Auden and Louis MacNeice. Auden and MacNeice's Letters from Iceland was more than a brilliant and unconventional travel book; it was one of the great works of the 1930s which defined for its own and later generations the precise nature and feeling of that troubled time.With characteristic boldness, Simon Armitage and Glyn Maxwell, staunch admirers of the two older poets, set off in 1994 to discover what Iceland, with its unique geography and ancient political institutions, might have to say to us now. Their findings, delivered in an appropriate mixture of poetry and prose, reportage and imaginative elaboration, vividly reflect the concerns of our own age, and will instruct and amuse readers in equal measure.
On October 23, 1852, Professor Augustus De Morgan wrote a letter to a colleague, unaware that he was launching one of the most famous mathematical conundrums in history--one that would confound thousands of puzzlers for more than a century. This is the amazing story of how the "map problem" was solved. The problem posed in the letter came from a former student: What is the least possible number of colors needed to fill in any map (real or invented) so that neighboring counties are always colored differently? This deceptively simple question was of minimal interest to cartographers, who saw little need to limit how many colors they used. But the problem set off a frenzy among professional mathematicians and amateur problem solvers, among them Lewis Carroll, an astronomer, a botanist, an obsessive golfer, the Bishop of London, a man who set his watch only once a year, a California traffic cop, and a bridegroom who spent his honeymoon coloring maps. In their pursuit of the solution, mathematicians painted maps on doughnuts and horseshoes and played with patterned soccer balls and the great rhombicuboctahedron. It would be more than one hundred years (and countless colored maps) later before the result was finally established. Even then, difficult questions remained, and the intricate solution--which involved no fewer than 1,200 hours of computer time--was greeted with as much dismay as enthusiasm. Providing a clear and elegant explanation of the problem and the proof, Robin Wilson tells how a seemingly innocuous question baffled great minds and stimulated exciting mathematics with far-flung applications. This is the entertaining story of those who failed to prove, and those who ultimately did prove, that four colors do indeed suffice to color any map. This new edition features many color illustrations. It also includes a new foreword by Ian Stewart on the importance of the map problem and how it was solved.
The Stone Axe of Burkamukk (1922) is a collection of Aboriginal legends by Mary Grant Bruce. The product of extensive research on the Aboriginal peoples of Gippsland, Victoria, Bruce’s collection was intended to educate Australian settlers regarding the traditions of those they had displaced. Despite drawing criticism for her use of racist stereotypes, Bruce’s hope was that her work would force her fellow settlers to “see that they were boys and girls, men and women, not so unlike us in many ways, and that they could admire what we admire in each other.” Recognizing her prejudices as a product of her time, one can appreciate The Stone Axe of Burkamukk as a record of Aboriginal tales as well as the writer’s status in settler-colonial society. “The camp lay calm and peaceful under the spring sunlight. Burkamukk, the chief, had chosen its place well: the wurleys were built in a green glade well shaded with blackwood and boobyalla trees, and with a soft thick carpet of grass, on which the black babies loved to roll. Not a hundred yards away flowed a wide creek; a creek so excellent that it fed a swamp a little farther on.” As the chief of a prosperous people, Burkamukk is both respected and feared by the inhabitants of the Australian bush. His stone axe, made with a sapling handle by the best craftsman of the tribe, is a symbol of his power and a useful tool for hunting. A generous leader, he often lends his axe to members of his tribe in return for a modest tribute. One day, when a hunting party comes back from a deadly encounter with a legendary kangaroo, Burkamukk swears an oath to avenge his lost tribesman. With a beautifully designed cover and professionally typeset manuscript, this edition of Mary Grant Bruce’s The Stone Axe of Burkamukk is a classic of Australian literature reimagined for modern readers.
He had caught up with the transcendent army and accidentally provoked the sickly emperor. The person he had married was the infamous eunuch, Li Ergou!This Li Ergou had a devilish appearance, full of muscles and tendons. He was a bass player, and could even make a man angry for a woman! Slowly, she discovered that Li Ergou could actually be jealous as well ....
She was a descendant of an ancient martial arts family from the modern era. Her skills were outstanding and her heart was ruthless and cold. Once he transmigrated and became the eldest daughter of the General's House, he would be bullied for his superior status. As a person who had experienced rebirth, how could he allow others to crush him? Those who had offended her before would all be forced to repay her debt in a single stroke. He was the crown prince who was high and mighty. He was dark and cunning, but he had only taken her seriously. The palace door was like the ocean, he wanted to share thousands of miles of mountains and rivers with her ...
Wang Yunjie accidentally knew the director's secrets while he was revengeed by the director. However, he got blessed by misfortune and got a magic bracelet unexpectedly. This bracelet helped him to be the best doctor and any incurable diseases could be easily cured by him. His status rose so rapidly that those who used to underestimate him now had to start humble. His life was totally changed.☆About the Author☆Xiao Ya, an online novelist. She is good at writing urban novels especially about doctor. Her work Romantic Medical Saint in the City is developed in the profession of doctors, with her fluent writing telling the story of an intern doctor changing his life.
Part treatise, part critique, part call to action, Reclaiming Art in the Age of Artifice is a journey into the uncanny realities revealed to us in the great works of art of the past and present. Received opinion holds that art is culturally-determined and relative. We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world. While holding this to be true of authentic art, the author acknowledges the presence—overwhelming in our media-saturated age—of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival. Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.
