Flea Market Fever! &break;&break;If you are planning to hit the flea markets, you won't want to pass on this deal. This Warman's price guide is full of information and tips to help make your flea market experience more fun and profitable. From what to bring to make flea marketing comfortable to current values, this book has the answers! &break;&break;Some of the exciting new/expanded categories include: &break;&break;4-H Collectibles &break;Badges &break;Beanie Babies &break;Campbell's Soup &break;Country Western &break;Egg Timers &break;Hot Wheels &break;Longaberger &break;Wade Ceramics &break;Watering Cans
In a night-time adventure Raggedy Ann and Raggedy Andy meet a Snitznoodle, reunite Little Lost Cookie with her parents, and teach mischievous Hob-the-Goblin to be good.
The struggle to write with deep emotion is the subject of this extraordinary book, the previously unpublished credo of one of America's greatest 20th-century writers. "You don't write a novel out of sheer pity any more than you blow a safe out of a vague longing to be rich," writes Nelson Algren in his only longer work of nonfiction, adding: "A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery." Nonconformity is about 20th-century America: "Never on the earth of man has he lived so tidily as here amidst such psychological disorder." And it is about the trouble writers ask for when they try to describe America: "Our myths are so many, our vision so dim, our self-deception so deep and our smugness so gross that scarcely any way now remains of reporting the American Century except from behind the billboards . . . [where there] are still . . . defeats in which everything is lost [and] victories that fall close enough to the heart to afford living hope." In Nonconformity, Algren identifies the essential nature of the writer's relation to society, drawing examples from Dostoyevsky, Chekhov, Twain, and Fitzgerald, as well as utility infielder Leo Durocher and legendary barkeep Martin Dooley. He shares his deepest beliefs about the state of literature and its role in society, along the way painting a chilling portrait of the early 1950s, Joe McCarthy's heyday, when many American writers were blacklisted and ruined for saying similar things to what Algren is saying here.
The author of many books on typography, Dan X. Solo was also the proprietor of his own typography shop in Oakland, California — an establishment dedicated to unusual typography and special effects. This comprehensive catalog offers graphic designers a dazzling selection of over 4,000 typefaces and optical effects available from Solotype Typographers. Here, in Solo's words, is "a great cast of characters" — the alphabet — abetted by a cornucopia of typographical ideas and an endless resource of letters, words, phrases, slogans, logos, humorous comments, headlines, and graphic symbols. Individual sections of the book display a rich variety of typefaces in categories such as Condensed, Victorian, Art Nouveau, Art Deco, Rustic, Thick-and-tin, Calligraphic, Uncials, Latins, and Blackletter. Samples are imaginatively presented. "Stagecoach," for example, is printed in Fargo typeface, evoking dusty trails, rawhide, and ten-gallon hats, while "Sizzling summer savings" appears appropriately in the flamboyant Firebug typeface. All typefaces are indexed for quick and easy reference. As entertaining as it is practical and useful, this impressive treasury of versatile typefaces and optical effects will be indispensable to busy commercial artists as an inexhaustible source of typographic ideas and a "swipe file" of words, phrases, and letters for use in graphic art projects.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
