About Marta Becket . . . "Tears came to my eyes. Marta represented to me the spirit of the individual. The spirit of the theater. The spirit of creativity." -Ray Bradbury, Author "Marta's paintings have a degree of humor and playfulness. The use of color is outstanding and tell of a generosity, talent and skill." -Red Skelton, Comedian/Artist "Long before anybody invented the term performance art, Marta Becket was doing it, in an abandoned opera house in Death Valley Junction. She restored it an
About Marta Becket . . . "Tears came to my eyes. Marta represented to me the spirit of the individual. The spirit of the theater. The spirit of creativity." -Ray Bradbury, Author "Marta's paintings have a degree of humor and playfulness. The use of color is outstanding and tell of a generosity, talent and skill." -Red Skelton, Comedian/Artist "Long before anybody invented the term performance art, Marta Becket was doing it, in an abandoned opera house in Death Valley Junction. She restored it and it restored her. With serene tenacity, she set down roots, working hard for decades, caring as well for endangered animals, including wild burros, until the world began coming to her." -Boston Globe "Becket's saga epitomizes the eternal struggle of the artist for personal expression." - Chicago Tribune "The forthright artist went on with what essentially was her own private show. She choreographed and performed her own dances, at first to an audience of tumbleweeds. But over the course of years, she painstakingly developed another audience - the Renaissance-looking crowd she painted in elaborate murals to fill her Amargosa Opera House with gawking spectators. Eventually Becket was discovered by living audiences, mostly appreciators of art, who have gone to great lengths to see her work. Becket overcame much and worked hard to get where she is today, a relatively unknown artist in the middle of nowhere. But she loves her unique place in the world." -San Francisco Chronicle "If this were fiction - if Marta Becket were not a real person - then the whole oddball-in-the-desert scenario might seem like something dreamed up by David Lynch. Or Sam Shepard. But Becket is very much the real thing, and she has made quite a name for herself out there in the desert." -Northern California Bohemian "On stage there is a warble to her voice. She is thin, but her expressions are as varied and fluid as shifting sand dunes. To say that Becket was beautiful when she was young, as evidenced by photographs in her program is to do a disservice to the beauty she still holds." -Los Angeles Times "There's something really wonderful about the fact that she picked the most desolate spot in America to do this. It says you can have your life on your own terms, but you'll have to sacrifice. It says the process is the point. And people come away from there inspired." -Todd Robinson, Director, Amargosa "There is indisputably a whiff of eccentricity about Ms. Becket's enterprise. And if one might expect the woman herself - dark haired, trim, with the visible sinews of a dancer - to carry an eccentric air, she doesn't, though there is a faint haughtiness of the artiste about her. Ms. Becket is self-aware, perfectly willing to admit that her shows and her painting have been her obsessions. In explanation of what amounts to her self-imposed exile, she said, 'I couldn't have created another world anyplace else'." -New York Times "Death Valley holds a special mystique for Europeans. You can find them among the locals in the 120-seat house, along with the occasional journalist or ghost-hunter- the place has a reputation for being haunted." -Dance Magazine "Becket's paintings are marvelous and will live long after she is gone. The paintings are worth the long drive." -The Connected Traveler
When Princess Gul'Agdar of Dhagabad begins studying the ancient magic of the Sacred Dance, she has no idea that this seemingly innocent act is the first step on the treacherous path to immortality, absolute powerNand slavery. Even her beloved Hasan cannot save her this time, as his enemies lure him into the mysterious True Library, destined to trap all-powerful wizards in a magical desert beyond this world.
Thirteen new stories by the celebrated writer, including two which he considers his greatest achievements to date, artfully blend elements from many literary geares.
For forty days and forty nights during the winter of 1999, three Canadians, Bruce Kirkby, Jamie Clarke, and Leigh Clarke, along with three Omani Bedu, travelled by camel across Arabia’s great southern desert – the legendary Empty Quarter. Journeying from Salala in Oman on the Arabian Sea, they headed north and east for 1,200 kilometres across remote and largely unexplored desert wilderness, where ranges of sand dunes tower to over three hundred metres in height. When they finally reached Abu Dhabi on the Persian Gulf, they were received as heroes. Theirs was the first camel crossing of the Empty Quarter in over fifty years. The expedition had historic roots, since the team sought to retrace for the first time the original 1947 crossing by world-famous explorer and adventurer Sir Wilfred Thesiger. In the years since Sir Wilfred’s journey, Arabia and the Bedu have faced enormous upheaval. The discovery of oil precipitated rapid and irreversible changes to a nomadic society that had existed in relative isolation since the time of Mohammed. Travelling with their three Bedu companions, the team was afforded a rare glimpse of how these changes have affected the last of the Arabian nomads. During the desert crossing the team was determined to travel and live as authentically as possible, on camels, taking Arabic names and wearing traditional clothing, drinking their water from rank goatskins and eating mainly unleavened bread and dried camel meat. The cultural insights they were afforded are constantly fascinating – but so are the cultural clashes, since the party was often followed by Land Cruisers full of well-meaning supporters who threatened to destroy the spirit of the journey. The expedition was also full of adventure and incident – such as a hundred-foot descent down a narrow, snake-infested well, a three-day sandstorm, the sting of a desert scorpion, and the challenge of living with inescapable heat and nagging dehydration. The Empty Quarter Traverse received considerable media coverage, both nationally and internationally. In nineteen countries around the world, 22,000 school children enrolled in the team’s Internet education program, and 4.8 million people visited the expedition Web site. The trek was reported widely and was the subject of a feature story on the CBC National and a front-page colour photo story in the National Post. Now Bruce Kirkby has written a thoughtful and deeply felt account of this challenging expedition – and has illustrated it with twenty-four pages of his stunning colour photographs. Anyone interested in remote areas of the world or stirred by the romance of old-fashioned adventure and daring will find Sand Dance constantly engaging.
“Lynsay Sands spins a funny, laughable tale.” —Eloisa James on Taming the Highland Bride Adrian Montfort, Earl of Mowbray, had been warned that Lady Clarissa Crambray was dangerous. From stomping on toes to setting wigs on fire, the stunning beauty was clearly a force to be reckoned with. Still, he’s in need of a wife and is sure he can handle one woman and her “unfortunate past.” Intrigued by the mysterious vixen, he soon discovers he’s greatly underestimated the lady… Clarissa would like to find a husband, but perhaps not as much as her stepmother would like one for her. The woman has forbidden Clarissa from wearing her spectacles so she can look prettier, but how is she to see her potential suitors? Besides, she’s already caused enough mayhem to earn a rather horrible nickname. Just when she is about to give up hope of anyone asking her to dance, a man comes to lead her to the dance floor…a dark, handsome blur of a man.
This volume provides a theoretical and practical examination of the relationships between bodies, dance and space. Using ten case studies, it illustrates the symbolic power of dance that is crafted by choreographers and acted out by dancers. The book portrays a multitude of ways in which public and private spaces (stages, buildings, town squares as well as natural environments) are transformed and made meaningful by dance. Furthermore, it explores the meaning of dance as emotionally experienced by dancers, and examines how movement in certain spaces creates meaning without the use of words or symbols.
*Named one of TIME's Top 100 Fantasy Books Of All Time A nobleman's daughter with magic in her blood. An empire built on the dreams of enslaved gods. Empire of Sand is Tasha Suri's lush, dazzling, Mughal India-inspired debut fantasy. The Amrithi are outcasts; nomads descended of desert spirits, they are coveted and persecuted throughout the Ambhan Empire for the power in their blood. Mehr is the illegitimate daughter of an imperial governor and an exiled Amrithi mother she can barely remember, but whose face and magic she has inherited. When Mehr's power comes to the attention of the Emperor's most feared mystics, she must use every ounce of will, subtlety, and power she possesses to resist their cruel agenda. And should she fail, the gods themselves may awaken seeking vengeance. . . "An ode to the quiet, fierce strength of women. . .pure wonder." —Samantha Shannon, New York Times bestselling author of The Priory of the Orange Tree "Stunning and enthralling." —S. A. Chakraborty, USA Today bestselling author of The City of Brass "A darkly intricate, devastating, and utterly original story." —R. F. Kuang, award-winning author of the The Poppy War By Tasha Suri: The Books of Ambha duology Empire of Sand Realm of Ash The Burning Kingdoms trilogy The Jasmine Throne
Hawk, a First Nations teen from northern Alberta, is a star athlete until a serious illness yanks him out of competition and into a fight for his life. Struggling to recover, he comes across a young osprey trapped in a tailings pond, helpless. Rescuing the bird gives Hawk a new purpose in life, if he can survive to see it through.
