Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a brilliant gift. This example features the gorgeous Magnolia Trees.
A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list and robust ivory text paper, printed with lines THE ARTIST. Austrian painter Wilhelm List was born in Vienna in 1864. List co-founded the Vienna Secession with renowned artist Gustav Klimt (1862-1918), exhibiting at the very first Viennese Secession in March 1897. HE FINAL WORD. As William Morris said, Have nothing in your houses that you do not know to be useful, or believe to be beautiful.
Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a dazzling gift. This example features René Gruau's lively work 'Bal du Moulin Rouge'.
Tells the story of the infamous “Goat Gland Doctor”—controversial medical charlatan, groundbreaking radio impresario, and prescient political campaigner—and recounts his amazing rags to riches to rags career. A popular joke of the 1920s posed the question, “What’s the fastest thing on four legs?” The punch line? “A goat passing Dr. Brinkley’s hospital!” It seems that John R. Brinkley’s virility rejuvenation cure—transplanting goat gonads into aging men—had taken the nation by storm. Never mind that “Doc” Brinkley’s medical credentials were shaky at best and that he prescribed medication over the airwaves via his high-power radio stations. The man built an empire. The Kansas Medical Board combined with the Federal Radio Commission to revoke Brinkley’s medical and radio licenses, which various courts upheld. Not to be stopped, Brinkley started a write-in campaign for Governor. He received more votes than any other candidate but lost due to invalidated and “misplaced” ballots. Brinkley’s tactics, particularly the use of his radio station and personal airplane, changed political campaigning forever. Brinkley then moved his radio medical practice to Del Rio, Texas, and began operating a “border blaster” on the Mexico side of the Rio Grande. His rogue stations, XER and its successor XERA, eventually broadcast at an antenna-shattering 1,000,000 watts and were not only a haven for Brinkley’s lucrative quackery, but also hosted an unprecedented number of then-unknown country musicians and other guests.
From the Foreword. In 1949, while I was visiting Ezra Pound who was a political prisoner at St. Elizabeth's Hospital, Washington, D.C. (a Federal institution for the insane), Dr. Pound asked me if I had ever heard of the Federal Reserve System. I replied that I had not, as of the age of 25. He then showed me a ten dollar bill marked ""Federal Reserve Note"" and asked me if I would do some research at the Library of Congress on the Federal Reserve System which had issued this bill. Pound was unable to go to the Library himself, as he was being held without trial as a political prisoner by the United States government. After he was denied broadcasting time in the U.S., Dr. Pound broadcast from Italy in an effort to persuade people of the United States not to enter World War II. Franklin D. Roosevelt had personally ordered Pound's indictment, spurred by the demands of his three personal assistants, Harry Dexter White, Lauchlin Currie, and Alger Hiss, all connected with Communist espionage.
This book "illuminates the history of the many people who together have called this region home, and their relationships with the park landscapes, waters, and natural resources that continue to set the Columbia-Pacific region apart."--Cover.
Lafcadio Hearn (1850-1904) wrote vivid accounts about life in New Orleans, the West Indies, and Japan. This appreciative 1908 biography discusses his birth to an Irish father and Greek mother, his work and travels, and the impact of poor eyesight on this poet of myopia. "Gould writes, Of Lafcadio Hearn there has been, and will be, no excuse for any biography whatever. A properly edited volume of his letters, and development of his imaginative power and literary character are, and still remain, most desirable."
This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.
